GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Welcome to Credit Recovery
This is how it works:
There are no letter grades awarded for credit recover--only pass or fail.
Each quarter equals .25 credits.
You can get the credit in two ways:
1) Pass the pre-test with at least 80%. This test is optional. You will be required to show ID
to take this test. You may also take this test as a diagnostic so that you know what you
need to learn as you go through the module.
2) If you don't pass the pre-test with at least 80% you will work through the course, hand
in all assignments, and then you need to pass the post-test with 60%. You will be required to show ID to take this test.
To earn .25 credits for 9th grade Quarter 3 - English Language Arts, you need to complete:
Section 1: Language
Section 2: Reading Literature
Section 3: Reading Informational Texts
Section 4: Writing
Section 5: Speaking and Listening
You must complete all of the work. All learning activities are either graded as complete or incomplete. If
you get an incomplete, the teacher will let you know what needs to be fixed and you can submit again
after you have improved your work.
You must also:
Pass the final assessment at 60% or higher
When you are reviewing for the post-test, you may revisit and/or redo any of the assignments and review resources as many times as you would like and need to help you prepare
for the exam.
1 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Instructions for this module:
1. Reading and other referenced materials are either included in the packet or from an open source that can be accessed from the given URL address. Instructions and URLs will be given with each assignment.
2. Check off each assignment as you finish it and are marked as complete by the teacher. Keep the assignments –
you must turn them in at the end of the packet to receive credit.
3. You will need internet access for some of the work.
a. If you are working from the module/packet as a PDF, web sites are linked directly to the web page. Move the
cursor over the web address and click. If the link does not work, type in or copy and paste the web site into the
address bar of your browser.
b. If you are working from paper, you will need to type the web site into the address bar of your browser.
c. If you are sure you have typed in or linked correctly and the web site is unavailable, see your instructor for solutions or suggestions.
4. There are 5 sections in this module. Work through each section. If you can know and learn the skills you will be
ready for the final. If you need to redo sections more than once to prepare for the final, you may.
*A Note about English: The content for English is the skill expected as determined by the Utah State Core. For
example, “identify the author's tone” is a skill, but understanding any particular text is not. The skills that will be
focused on for each quarter are expressed through the "I Can" statements. The texts for the pre-test, module
work, and post-test are different. That way it is the skill - not the text - that is being tested and learned.
Pre-assessment
Take the 9th grade quarter 3 pre-assessment test.
If you score 80% or higher –
You do not have to complete the packet.
Your credit recovery teacher will verify your score and help arrange for credit.
If you score 79% or lower –
Complete the packet.
Turn in all work.
Pass the final assessment at 60% or higher.
2 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
KEY VOCABULARY
As you study this unit, you will be using the following key vocabulary words:
cohesion
contexts
cultural experience
denotation
dialogue
digital media
digital sources
euphemism
fallacious
graphical media
inquiry
integrate
interactive media
medium
MLA style
multiple
authoritative print
mystery
nuance
oxymoron
pacing
pacing multiple plot
lines
parallel plots
plagiarism
point of view
purpose
rhetoric
sequence
style
substance
surprise
synthesize
tens ion
textual media
Make sure you know their definitions and how to use them correctly. Even if there are no specific exercises practicing these terms, you will be responsible for knowing them.
I Can Statements for 9th Grade Quarter 3
(What you are expected to know and be able to do.)
Language
I can utilize MLA format in English classes. (L3)
I can determine how word relationships and figurative language affects text. (L5)
Reading Literature
I can use point of view to compare cultural experiences in literary text. (RL6)
I can analyze subjects or scenes in two different artistic mediums. (RL7)
I can identify an author's use of source material. (RL9)
Reading Informational Text
I can analyze how ideas or claims are developed. (RI5)
I can determine and analyze point of view in informational texts. (RI6)
I can analyze the accounts of same subject in two different mediums. (RI7)
Writing
I can write well-organized, informative/explanatory text formatted to include
graphics and multimedia. (W2)
I can conduct research and determine credibility of sources. (W7)
I can effectively gather information with citations while avoiding plagiarism. (W8)
I can draw evidence from literary and informational text. (W9)
Speaking/Listening
I can enhance understanding with digital media. (SL5)
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Unit 1-Language
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - MLA
I can utilize MLA format in English classes. (L3)
Section 1-1: What Is MLA Formatting
Assignment 1-1a - Watch
It is not necessary to memorize the information for formatting text in MLA or any format. It is necessary to know
where to find the information so that when you need it, you can look it up. Here are three videos that give basic information on MLA formatting. Watch each, taking notes on each with an emphasis on WHAT information each contains
so that you know which you want to go back to when needed.
Purdue OWL: MLA Formatting - The Basics = https://www.youtube.com/watch?v=24Y31UrG2q4
MLA In-Text Citations for Beginners - https://www.youtube.com/watch?v=91u_iplrZlU
( For a quick review of In-text citations, go to What Are in-Text Citations? https://www.youtube.com/watch?v=R5igNRmKLug)
Assignment 1-1b - Read
Read the information on MLA Formatting and Style Guide at https://owl.english.purdue.edu/owl/resource/747/01/
taking notes so you know what information is there. There are several pages. Visit them all and to become familiar
with them. This, as well as the videos, will be useful in the next assignment.
Assignment 1-1c - Quiz
This is an open book/note quiz. Use your notes from the videos. If the answer isn’t there, you may watch the videos again, visit the OWL pages, or find a different source that does have the answer. Repeat—you don’t have to
memorize the information, just know where to look it up. You should, however, be very aware that you must cite
information both in-text and in a Works Cited page to avoid plagiarism.
QUIZ (adapted from proprofs.com)
1. How is a block quotation structured?
 Indent the left side of the first line only, double-space the quotation, and include the in-text citation at the end
 Indent the left side of all lines, double-space the quotation, and include the in-text citation at the end
 Indent both sides of all lines, double-space the quotation, and leave out the in-text citation
 Indent both sides of all lines, single-space the quotation, and include the in-text citation at the end
2. How do you omit information from a quotation within the text?
 Omit without making changes. A reader can look at a source if she/he want the specifics.
 Bold the words surrounding the information.
 Add an ellipses (. . .) for information you omit.
 Add and ellipses enclosed in brackets […] for information you omit.
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
3. What information should be included in the in-text citation?
 Authors last name and page number where available
 Title and publisher
 Page number and copyright date
 Book title and author’s last name
4. Where does the period go when an in-text citation is present?
 At the end of the sentence before the parenthesis
 At the end of the sentence after the parentheses
 At the end of the sentence Inside the parentheses
 At the end of the sentence Inside the parentheses and before the citation
5. If the author’s last name is in the sentence, what goes in the in-text citation?
 Page number only
 Full author’s name
 Title of the book/article/site
 Copyright and publisher
6. What should you do with an in-text citation if no author’s name is given for the text cited?
 Omit the author’s name and just use the page number by itself
 Use “Anonymous” in place of the author’s name
 Use the full title of the piece in place of the author’s name
 Use an abbreviated form of the title in place of the author’s name
7. What do you include in your Works Cited page?
 All the sources that were looked at even though they were not all used in the paper
 Only the sources used and cited in the paper
 Only those sources from which you used a direct quote
 The sources that you found but did not use since the other sources used in in-text citations
8. What is wrong with the following Works Cited entry?
Jupiter, Janie and Suellen Powers. The Nitty Gritty Lit Book. New York: Banter Press, 1991.
 The title should be underlined or italicized.
 The authors’ first initials should be given, not their full first names.
 The page numbers should always be listed for a book.
 Instead of a colon, there should be a comma.
9. What is wrong with the following citation for a Works Cited page?
Allan, Joseph. “How the Americans made Sugar in the West.” Journal of American History (1986) 23:245-257.
 Page numbers do not need to be listed for a journal article.
 The year should come after the volume number.
 There needs to be a period after the journal title.
 The author’s first initial should be used.
10. What is a basic rule for formatting the Works Cited page?
 All lines of each source should be flush against the left side. The entire page should be double spaced
 All lines of each source should be centered and single spaced.
 The first line of each source should be flush against the left side, while the second line should be indented one-half
inch. There should be two spaces between each entry, the entries themselves are single spaced.
 The first line of each source should be flush against the left side, while the second line (if any) should be indented
one-half inch. The entire page should be double spaced.
5 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Lesson 2 - Euphemism and Oxymoron
I can determine how word relationships and figurative language affects text. (L5)
Section 2-1: What Are Euphemism and Oxymoron?
Assignment 2-1a - Definitions
Read the definition. Make sure you understand as you will use the se term in other assignments.
A euphemism is a figure of speech in which a vague, indirect, or mild word is substituted for a word deemed harsh,
blunt, or offensive. For instance, people often say passed away rather than died because the former seems less offensive. Euphemisms abound in politics and society where politically correct words are used instead of words that seem
pejorative. An oxymoron, on the other hand, is a figure of speech in which incongruous or contradictory terms are
combined. For example, a deafening silence combines two contradictory concepts. For example, since there is no
sound in silence, how can it be deafening?
Determine the figure of speech used in this sentence.
"A yawn may be defined as a silent yell."(G.K. Chesterton, George Bernard Shaw, 1909)
The term “silent yell” is an oxymoron because a yell is not silent. These words do not belong together because these
words are contradictory. By definition, an oxymoron combines two contradictory elements. Other examples include
real phony, and pretty ugly. The expression is not a simile or personification, nor is it a hyperbole or onomatopoeia.
Although it is a metaphor, the metaphor consists of an oxymoron.
Determine how you can distinguish which word in the sentence is a euphemism.
Veronica went into the restaurant, was shown a table, and then asked the waiter where she could find a restroom.
This statement is very straight forward. It is about a woman entering a restaurant, sitting at the table, and asking
where she could find a restroom. The word restroom is a euphemism for bathroom. It is considered less offensive to
use the term restroom than the terms bathroom or toilet. This practice of softening our language has been in existence for many years. Euphemism means “the use of words of good omen" in Greek, and Greeks used euphemisms as
substitutes for religious words such as the names of deities that were not supposed to be spoken. In addition, the
practice was found in Indo-European languages as well as in Arabic languages. Today euphemisms are extremely popular and often are used to ensure political correctness of language.
6 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 2-1b - Euphemism Quiz
Take the online quiz. If you are not sure what the terms mean, feel free to search the internet or ask someone.
Euphemisms and oxymoron take experience and practice in any language because they are not literal meanings of
words.
Do not submit the quiz until you are fairly sure you have the answers. Record your score and what you had to do—
how many times it took, who you asked, how you found the answers, etc. Feel free to repeat the quiz until you have
100%.
QFeast.com - http://www.qfeast.com/scored/quiz/498/Euphemisms-Quiz
Assignment 2-1c - Oxymoron Quiz
Take the online quiz. If you are not sure what the terms mean, feel free to search the internet or ask someone.
Euphemisms and oxymoron take experience and practice in any language because they are not literal meanings of
words.
Do not submit the quiz until you are fairly sure you have the answers. Record your score and what you had to do—
how many times it took, who you asked, how you found the answers, etc. Feel free to repeat the quiz until you have
100%.
Funtrivia.com - http://www.funtrivia.com/playquiz/quiz105401c133c0.html
Unit Quiz
See how much you remember.
1. Take the quiz on the Language Unit answering what you can without looking at sources.
2. Look up any answers you didn’t know in any source. Check any answer that you are not sure of.
3. Have your quiz corrected. Look up in any source the answers to questions you missed.
4. Repeat until you 100% on the quiz by using what you know and the sources you have and can find.
Quiz—
1. If your citation is longer than one line, then you should …
2. What are three reasons to make a Works Cited page?
3. What are the three most vital pieces of information to include in a website citation?
4. The title an introduction to Dakota culture and history is written incorrectly. How should it be written?
5. Which does NOT need to be cited?
6. Consider MLA formatting. What is wrong with the following?
Works Cited
"Anxiety: Information about Symptoms and Treatment." eCentreClinic Centre for Mental Health.
"NAMI National Alliance on Mental Illness, Anxiety Disorders." NAMI National Alliance on Mental Illness.10 Dec
2013.
“Anxiety & Panic Disorders Health Center”. 18 Dec 2013. Anxiety & Panic Disorders
7. Consider MLA formatting: What is wrong with the following in-text citation?
The wish for longer school days is strong among the children in Lima, Peru (Anderson.)
8. Identify each of the following as either a euphemism, an oxymoron, or neither:
A. Jumbo shrimp
B. Passed away
C. Burning cold
D. Between jobs
E. Letting someone go
F. Vertically challenged
G. Pretty ugly
7 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Unit 2 - Reading Literature
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Point of View
I can use point of view to compare cultural experiences in literary text. (RL6)
Section 1-1: Discovering Point of View
Assignment 1-1a - What Is Point of View?
Point of view can actually mean two things. Make sure you understand what the teacher or question is asking for.
Here are the two definitions:
1. Point of view is the position of the narrator or speaker in relation to the story that he/she is telling. It is an opinion, attitude, or judgment.
Watch the following video. Take notes to be used in answering questions later. Make special note of the types of
point of view and how to identify them.
eSpark Learning: Point of View Instructional Video by eSparkLearningVideos - https://www.youtube.com/watch?
v=g2j_xw8ZNjs
2. Point of view is the vantage point from which a writer tells a story. This is often called the narrator’s/narrative
point-of-view.
Watch the following video. Take notes to be used in answering questions later. Make special note of the types of
point of view and how to identify them.
POV: Point of View by mistersato411 - https://www.youtube.com/watch?v=SKi56cPUSFk
Section 1-2: Practicing Point of View
Assignment 1-2a - Read
Read “The Valley of Spiders” by H. G. Wells
THE VALLEY OF SPIDERS by H. G. Wells adapted from www.world-english.org
Towards mid-day the three pursuers came abruptly round a bend in the torrent bed upon the sight of a very
broad and spacious valley. The difficult and winding trench of pebbles along which they had tracked the fugitives for
so long, expanded to a broad slope, and with a common impulse the three men left the trail, and rode to a little eminence set with olive-dun trees, and there halted, the two others, as became them, a little behind the man with the
silver-studded bridle.
For a space they scanned the great expanse below them with eager eyes. It spread remoter and remoter, with
only a few clusters of sere thorn bushes here and there, and the dim suggestions of some now waterless ravine, to
break its desolation of yellow grass. Its purple distances melted at last into the bluish slopes of the further hills--hills it
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
might be of a greener kind--and above them invisibly supported, and seeming indeed to hang in the blue, were the
snowclad summits of mountains that grew larger and bolder to the north-westward as the sides of the valley drew
together. And westward the valley opened until a distant darkness under the sky told where the forests began. But the
three men looked neither east nor west, but only steadfastly across the valley.
The gaunt man with the scarred lip was the first to speak. "Nowhere," he said, with a sigh of disappointment in
his voice. "But after all, they had a full day's start."
"They don't know we are after them," said the little man on the white horse.
"SHE would know," said the leader bitterly, as if speaking to himself.
"Even then they can't go fast. They've got no beast but the mule, and all today the girl's foot has been bleeding---"
The man with the silver bridle flashed a quick intensity of rage on him. "Do you think I haven't seen that?" he
snarled.
"It helps, anyhow," whispered the little man to himself.
The gaunt man with the scarred lip stared impassively. "They can't be over the valley," he said. "If we ride hard
--"
He glanced at the white horse and paused.
"Curse all white horses!" said the man with the silver bridle, and turned to scan the beast his curse included.
The little man looked down between the melancholy ears of his steed. "I did my best," he said.
The two others stared again across the valley for a space. The gaunt man passed the back of his hand across
the scarred lip.
"Come up!" said the man who owned the silver bridle, suddenly.
The little man started and jerked his rein, and the horse hoofs of the three made a multitudinous faint pattering upon the withered grass as they turned back towards the trail. . . .
They rode cautiously down the long slope before them, and so came through a waste of prickly, twisted bushes and strange dry shapes of horny branches that grew amongst the rocks, into the levels below. And there the trail
grew faint, for the soil was scanty, and the only herbage was this scorched dead straw that lay upon the ground. Still,
by hard scanning, by leaning beside the horses' necks and pausing ever and again, even these white men could contrive to follow after their prey.
There were trodden places, bent and broken blades of the coarse grass, and ever and again the sufficient intimation of a footmark. And once the leader saw a brown smear of blood where the
girl may have trod. And at that under his breath he cursed her for a fool.
The gaunt man checked his leader's tracking, and the little man on the white horse rode behind, a man lost in
a dream. They rode one after another, the man with the silver bridle led the way, and they spoke never a word. After a
time it came to the little man on the white horse that the world was very still. He started out of his dream. Besides the
little noises of their horses and equipment, the whole great valley kept the brooding quiet of a painted scene.
Before him went his master and his fellow, each intently leaning forward to the left, each impassively moving
with the paces of his horse; their shadows went before them--still, noiseless, tapering attendants; and nearer a
crouched cool shape was his own. He looked about him. What was it had gone? Then he remembered the reverberation from the banks of the gorge and the perpetual accompaniment of shifting, jostling pebbles. And, moreover--?
There was no breeze. That was it! What a vast, still place it was, a monotonous afternoon slumber. And the sky open
and blank, except for a somber veil of haze that had gathered in the upper valley.
He straightened his back, fretted with his bridle, puckered his lips to whistle, and simply sighed. He turned in
his saddle for a time, and stared at the throat of the mountain gorge out of which they had come. Blank! Blank slopes
on either side, with never a sign of a decent beast or tree--much less a man. What a land it was! What a wilderness!
He dropped again into his former pose.
It filled him with a momentary pleasure to see a wry stick of purple black flash out into the form of a snake,
and vanish amidst the brown. After all, the infernal valley WAS alive. And then, to rejoice him still more, came a little
breath across his face, a whisper that came and went, the faintest inclination of a stiff black-antlered bush upon a little
crest, the first intimations of a possible breeze. Idly he wetted his finger, and held it up.
9 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
He pulled up sharply to avoid a collision with the gaunt man, who had stopped at fault upon the trail. Just at
that guilty moment he caught his master's eye looking towards him.
For a time he forced an interest in the tracking. Then, as they rode on again, he studied his master's shadow
and hat and shoulder, appearing and disappearing behind the gaunt man's nearer contours. They had ridden four
days out of the very limits of the world into this desolate place, short of water, with nothing but a strip of dried meat
under their saddles, over rocks and mountains, where surely none but these fugitives had ever been before--for
THAT!
And all this was for a girl, a mere willful child! And the man had whole cityfulls of people to do his basest bidding--girls, women! Why in the name of passionate folly THIS one in particular? asked the little man, and scowled at
the world, and licked his parched lips with a blackened tongue. It was the way of the master, and that was all he
knew. Just because she sought to evade him. . . .
His eye caught a whole row of high plumed canes bending in unison, and then the tails of silk that hung before his neck flapped and fell. The breeze was growing stronger. Somehow it took the stiff stillness out of things--and
that was well.
"Hullo!" said the gaunt man.
All three stopped abruptly.
"What?" asked the master. "What?"
"Over there," said the gaunt man, pointing up the valley.
"What?"
"Something coming towards us."
And as he spoke a yellow animal crested a rise and came bearing down upon them. It was a big wild dog,
coming before the wind, tongue out, at a steady pace, and running with such an intensity of purpose that he did not
seem to see the horsemen he approached. He ran with his nose up, following, it was plain, neither scent nor quarry.
As he drew nearer the little man felt for his sword. "He's mad," said the gaunt rider.
"Shout!" said the little man, and shouted.
The dog came on. Then when the little man's blade was already out, it swerved aside and went panting by
them and past. The eyes of the little man followed its flight. "There was no foam," he said.
For a space the man with the silver-studded bridle stared up the valley. "Oh, come on!" he cried at last.
"What does it matter?" and jerked his horse into movement again.
The little man left the insoluble mystery of a
dog that fled from nothing but the wind, and lapsed into profound musings on human character. "Come on!" he whispered to himself. "Why should it be given to one man to say 'Come on!' with that stupendous violence of effect. Always, all his life, the man with the silver bridle has been saying that. If _I_ said it--!" thought the little man. But people
marveled when the master was disobeyed even in the wildest things. This girl seemed to him, seemed to every one,
mad--blasphemous almost. The little man, by way of comparison, reflected on the gaunt rider with the scarred lip, as
stalwart as his master, as brave and, indeed, perhaps braver, and yet for him there was obedience, nothing but to
give obedience duly and stoutly. . .
Certain sensations of the hands and knees called the little man back to more immediate things. He became
aware of something. He rode up beside his gaunt fellow. "Do you notice the horses?" he said in an undertone.
The gaunt face looked interrogation.
"They don't like this wind," said the little man, and dropped behind as the man with the silver bridle turned
upon him.
"It's all right," said the gaunt-faced man.
They rode on again for a space in silence. The foremost two rode downcast upon the trail, the hindmost man
watched the haze that crept down the vastness of the valley, nearer and nearer, and noted how the wind grew in
strength moment by moment. Far away on the left he saw a line of dark bulks--wild hog perhaps, galloping down the
valley, but of that he said nothing, nor did he remark again upon the uneasiness of the horses.
And then he saw first one and then a second great white ball, a great shining white ball like a gigantic head of
thistle-down, that drove before the wind athwart the path. These balls soared high in the air, and dropped and rose
10 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
again and caught for a moment, and hurried on and passed, but at the sight of them the restlessness of the horses
increased.
Then presently he saw that more of these drifting globes--and then soon very many more--were hurrying towards him down the valley.
They became aware of a squealing. Athwart the path a huge boar rushed, turning his head but for one instant
to glance at them, and then hurling on down the valley again. And at that, all three stopped and sat in their saddles,
staring into the thickening haze that was coming upon them.
"If it were not for this thistle-down--" began the leader.
But now a big globe came drifting past within a score of yards of them. It was really not an even sphere at all,
but a vast, soft, ragged, filmy thing, a sheet gathered by the corners, an aerial jelly-fish, as it were, but rolling over
and over as it advanced, and trailing long, cobwebby threads and streamers that floated in its wake.
"It isn't thistle-down," said the little man.
"I don't like the stuff," said the gaunt man. And they looked at one another.
"Curse it!" cried the leader. "The air's full of it up there. If it keeps on at this pace long, it will stop us altogether."
An instinctive feeling, such as lines out a herd of deer at the approach of some ambiguous thing, prompted
them to turn their horses to the wind, ride forward for a few paces, and stare at that advancing multitude of floating
masses. They came on before the wind with a sort of smooth swiftness, rising and falling noiselessly, sinking to earth
rebounding high, soaring--all with a perfect unanimity, with a still, deliberate assurance.
Right and left of the horsemen the pioneers of this strange army passed. At one that rolled along the ground,
breaking shapelessly and trailing out reluctantly into long grappling ribbons and bands, all three horses began to shy
and dance. The master was seized with a sudden unreasonable impatience. He cursed the drifting globes roundly.
"Get on!" he cried; "get on! What do these things matter? How CAN they matter? Back to the trail!" He fell swearing
at his horse and sawed the bit across its mouth.
He shouted aloud with rage. "I will follow that trail, I tell you!" he cried. "Where is the trail?"
He gripped the bridle of his prancing horse and searched amidst the grass. A long and clinging thread fell
across his face, a grey streamer dropped about his bridle-arm, some big, active thing with many legs ran down the
back of his head. He looked up to discover one of those grey masses anchored as it were above him by these things
and flapping out ends as a sail flaps when a boat comes, about-- but noiselessly.
He had an impression of many eyes, of a dense crew of squat bodies, of long, many-jointed limbs hauling at
their mooring ropes to bring the thing down upon him. For a space he stared up, reining in his prancing horse with
the instinct born of years of horsemanship. Then the flat of a sword smote his back, and a blade flashed overhead
and cut the drifting balloon of spider-web free, and the whole mass lifted softly and drove clear and away.
"Spiders!" cried the voice of the gaunt man. "The things are full of big spiders! Look, my lord!"
The man with the silver bridle still followed the mass that drove away.
"Look, my lord!"
The master found himself staring down at a red, smashed thing on the ground that, in spite of partial obliteration, could still wriggle unavailing legs. Then when the gaunt man pointed to another mass that bore down upon
them, he drew his sword hastily. Up the valley now it was like a fog bank torn to rags. He tried to grasp the situation.
"Ride for it!" the little man was shouting. "Ride for it down the valley."
What happened then was like the confusion of a battle. The man with the silver bridle saw the little man go
past him slashing furiously at imaginary cobwebs, saw him cannon into the horse of the gaunt man and hurl it and its
rider to earth. His own horse went a dozen paces before he could rein it in. Then he looked up to avoid imaginary
dangers, and then back again to see a horse rolling on the ground, the gaunt man standing and slashing over it at a
rent and fluttering mass of grey that streamed and wrapped about them both. And thick and fast as thistle-down on
waste land on a windy day in July, the cobweb masses were coming on.
The little man had dismounted, but he dared not release his horse. He was endeavoring to lug the struggling
brute back with the strength of one arm, while with the other he slashed aimlessly, The tentacles of a second grey
mass had entangled themselves with the struggle, and this second grey mass came to its moorings, and slowly sank.
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The master set his teeth, gripped his bridle, lowered his head, and spurred his horse forward. The horse on
the ground rolled over, there were blood and moving shapes upon the flanks, and the gaunt man, suddenly leaving
it, ran forward towards his master, perhaps ten paces. His legs were swathed and encumbered with grey; he made
ineffectual movements with his sword. Grey streamers waved from him; there was a thin veil of grey across his
face. With his left hand he beat at something on his body, and suddenly he stumbled and fell. He struggled to rise,
and fell again, and suddenly, horribly, began to howl, "Oh--ohoo, ohooh!"
The master could see the great spiders upon him, and others upon the ground.
As he strove to force his horse nearer to this gesticulating, screaming grey object that struggled up and
down, there came a clatter of hoofs, and the little man, in act of mounting, swordless, balanced on his belly athwart
the white horse, and clutching its mane, whirled past. And again a clinging thread of grey gossamer swept across
the master's face. All about him, and over him, it seemed this drifting, noiseless cobweb circled and drew nearer
him. . . .
To the day of his death he never knew just how the event of that moment happened. Did he, indeed, turn
his horse, or did it really of its own accord stampede after its fellow? Suffice it that in another second he was galloping full tilt down the valley with his sword whirling furiously overhead. And all about him on the quickening breeze,
the spiders' airships, their air bundles and air sheets, seemed to him to hurry in a conscious pursuit.
Clatter, clatter, thud, thud--the man with the silver bridle rode, heedless of his direction, with his fearful
face looking up now right, now left, and his sword arm ready to slash. And a few hundred yards ahead of him, with
a tail of torn cobweb trailing behind him, rode the little man on the white horse, still but imperfectly in the saddle.
The reeds bent before them, the wind blew fresh and strong, over his shoulder the master could see the webs hurrying to overtake. . . .
He was so intent to escape the spiders' webs that only as his horse gathered together for a leap did he realize the ravine ahead. And then he realized it only to misunderstand and interfere. He was leaning forward on his
horse's neck and sat up and back all too late.
But if in his excitement he had failed to leap, at any rate he had not forgotten how to fall. He was horseman
again in mid-air. He came off clear with a mere bruise upon his shoulder, and his horse rolled, kicking spasmodic
legs, and lay still. But the master's sword drove its point into the hard soil, and snapped clean across, as though
Chance refused him any longer as her Knight, and the splintered end missed his face by an inch or so.
He was on his feet in a moment, breathlessly scanning the onrushing spider-webs. For a moment he was
minded to run, and then thought of the ravine, and turned back. He ran aside once to dodge one drifting terror, and
then he was swiftly clambering down the precipitous sides, and out of the touch of the gale.
There under the lee of the dry torrent's steeper banks he might crouch, and watch these strange, grey
masses pass and pass in safety till the wind fell, and it became possible to escape. And there for a long time he
crouched, watching the strange, grey, ragged masses trail their streamers across his narrowed sky.
Once a stray spider fell into the ravine close beside him--a full foot it measured from leg to leg, and its body
was half a man's hand-- and after he had watched its monstrous alacrity of search and escape for a little while, and
tempted it to bite his broken sword, he lifted up his iron-heeled boot and smashed it into a pulp. He swore as he
did so, and for a time sought up and down for another.
Then presently, when he was surer these spider swarms could not drop into the ravine, he found a place
where he could sit down, and sat and fell into deep thought and began after his manner to gnaw his knuckles and
bite his nails. And from this he was moved by the coming of the man with the white horse.
He heard him long before he saw him, as a clattering of hoofs, stumbling footsteps, and a reassuring voice.
Then the little man appeared, a rueful figure, still with a tail of white cobweb trailing behind him. They approached
each other without speaking, without a salutation. The little man was fatigued and shamed to the pitch of hopeless
bitterness, and came to a stop at last, face to face with his seated master. The latter winced a little under his dependent’s eye. "Well?" he said at last, with no pretense of authority.
"You left him?"
"My horse bolted."
"I know. So did mine."
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He laughed at his master mirthlessly.
"I say my horse bolted," said the man who once had a silver-studded bridle.
"Cowards both," said the little man.
The other gnawed his knuckle through some meditative moments, with his eye on his inferior.
"Don't call me a coward," he said at length.
"You are a coward like myself."
"A coward possibly. There is a limit beyond which every man must fear. That I have learnt at last. But not like
yourself. That is where the difference comes in."
"I never could have dreamt you would have left him. He saved your life two minutes before. . . . Why are you
our lord?"
The master gnawed his knuckles again, and his countenance was dark.
"No man calls me a coward," he said. "No. A broken sword is better than none. . . . One spavined white horse
cannot be expected to carry two men a four days' journey. I hate white horses, but this time it cannot be helped. You
begin to understand me? . . . I perceive that you are minded, on the strength of what you have seen and fancy, to
taint my reputation. It is men of your sort who unmake kings. Besides which--I never liked you."
"My lord!" said the little man.
"No," said the master. "NO!"
He stood up sharply as the little man moved. For a minute perhaps they faced one another. Overhead the
spiders' balls went driving. There was a quick movement among the pebbles; a running of feet, a cry of despair, a
gasp and a blow. . . .
Towards nightfall the wind fell. The sun set in a calm serenity, and the man who had once possessed the silver bridle came at last very cautiously and by an easy slope out of the ravine again; but now he led the white horse
that once belonged to the little man. He would have gone back to his horse to get his silver-mounted bridle again,
but he feared night and a quickening breeze might still find him in the valley, and besides he disliked greatly to think
he might discover his horse all swathed in cobwebs and perhaps unpleasantly eaten.
And as he thought of those cobwebs and of all the dangers he had been through, and the manner in which
he had been preserved that day, his hand sought a little reliquary that hung about his neck, and he clasped it for a
moment with heartfelt gratitude. As he did so his eyes went across the valley.
"I was hot with passion," he said, "and now she has met her reward. They also, no doubt--"
And behold! Far away out of the wooded slopes across the valley, but in the clearness of the sunset distinct
and unmistakable, he saw a little spire of smoke.
At that his expression of serene resignation changed to an amazed anger. Smoke? He turned the head of the
white horse about, and hesitated. And as he did so a little rustle of air went through the grass about him. Far away
upon some reeds swayed a tattered sheet of grey. He looked at the cobwebs; he looked at the smoke.
"Perhaps, after all, it is not them," he said at last.
But he knew better.
After he had stared at the smoke for some time, he mounted the white horse.
As he rode, he picked his way amidst stranded masses of web. For some reason there were many dead spiders on the ground, and those that lived feasted guiltily on their fellows. At the sound of his horse's hoofs they fled.
Their time had passed. From the ground without either a wind to carry them or a winding sheet ready, these
things, for all their poison, could do him little evil. He flicked with his belt at those he fancied came too near. Once,
where a number ran together over a bare place, he was minded to dismount and trample them with his boots, but
this impulse he overcame. Ever and again he turned in his saddle, and looked back at the smoke.
"Spiders," he muttered over and over again. "Spiders! Well, well. . . . The next time I must spin a web."
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Assignment 1-2b - Questions
Answer the following questions about the “The Valley of Spiders.” Show evidence from the text to support your answers.
1.
2.
3.
4.
5.
6.
7.
8.
9.
There are three men in this short story. Identify them.
Why do you think the author does not give the men names?
Why do the three men enter the valley?
Why do the men first see the valley as a dead place?
What surprises the men about the snake, the wild dog, and the wild boar?
How do each of the men react to the spiders?
How did you react to the descriptions and actions of the spiders?
What is the narrative point-of-view for this piece? (list) Give evidence supporting your response.
What is the point of view the narrator is taking towards the men’s purpose in the valley? Give evidence supporting your
response.
10. What is the point of view the narrator takes towards the spiders? Give evidence supporting your response.
Section 1-3: Application to Cultural Experience
Assignment 1-3a - Don Quixote
Read the short excerpt below from the book Don Quixote and answer the questions:
Adapted from shmoop.com
In a village of La Mancha, the name of which I have no desire to call to mind, there lived not long since one
of those gentlemen that keep a lance in the lance-rack, an old buckler, a lean hack, and a greyhound for coursing.
An olla of rather more beef than mutton, a salad on most nights, scraps on Saturdays, lentils on Fridays, and a pigeon or so extra on Sundays, made away with three-quarters of his income. The rest of it went in a doublet of fine
cloth and velvet breeches and shoes to match for holidays, while on week-days he made a brave figure in his best
homespun. He had in his house a housekeeper past forty, a niece under twenty, and a lad for the field and marketplace, who used to saddle the hack as well as handle the bill-hook. The age of this gentleman of ours was bordering
on fifty; he was of a hardy habit, spare, gaunt-featured, a very early riser and a great sportsman. They will have it his
surname was Quixada or Quesada (for here there is some difference of opinion among the authors who write on
the subject), although from reasonable conjectures it seems plain that he was called Quexana. This, however, is of
but little importance to our tale; it will be enough not to stray a hair's breadth from the truth in the telling of it.
You must know, then, that the above-named gentleman whenever he was at leisure (which was mostly all
the year round) gave himself up to reading books of chivalry with such ardor and avidity that he almost entirely neglected the pursuit of his field-sports, and even the management of his property; and to such a pitch did his eagerness and infatuation go that he sold many an acre of tillage land to buy books of chivalry to read, and brought home
as many of them as he could get. But of all there were none he liked so well as those of the famous Feliciano de Silva's composition, for their lucidity of style and complicated conceits were as pearls in his sight, particularly when in
his reading he came upon courtships and cartels, where he often found passages like "the reason of the unreason
with which my reason is afflicted so weakens my reason that with reason I murmur at your beauty;" or again, "the
high heavens, that of your divinity divinely fortify you with the stars, render you deserving of the desert your greatness deserves." Over conceits of this sort the poor gentleman lost his wits, and used to lie awake striving to understand them and worm the meaning out of them.
- Miguel de Cervantes, Don Quixote
1. Where and when was the passage written? How can you tell?
2.
Which words, if you looked them up, might help you better understand this passage?
3. Which parts of the passage indicate it belongs to a specific world culture?
4. What point of view does the narrator take towards the subject of this excerpt?
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Lesson 2 - Looking at the Same Subject in Different Mediums
I can analyze subjects or scenes in two different artistic mediums. (RL7)
Section 2-1: Subjects in Two Different Artistic Mediums
Assignment 2-1a - Read
Read through the following slides adapted from Utah Students Connect. The information will be used in further assignments, so make sure you understand the information.
Purpose and Standard
Analyze the representation of a subject or a key scene in two different
artistic mediums, including what is emphasized or absent.
RL.9-10.7
WHY?
Text structures can portray the same scene in different ways. By understanding the representation of a subject or key scene, you will be able to—
identify that opinions and points of view can
be different even when people are view-
ing the same scene or event.
conclude that different perspectives strengthen personal understanding.
Example
Look at this photograph of Florence Owens Thompson take by Dorthea Lange.
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WHAT DO YOU THINK?
Answer the questions to yourself:
• How is this woman felling?
• What is happening in her life?
• What is she waiting for?
• How are her children feeling?
Some example answers:
•She is feeling depressed.
•Maybe she is homeless.
•She’s waiting for her husband.
•Her children feel lost.
Now read what Lane, the photographer, tells us.
“Seven hungry children. Father is native Californian. Destitute in pea pickers’
camp . . .because of failure of the early pea crop. These people had just sold the
tires to buy food.”
“I did not ask her name or her history. She told me her age, that she was 32.
she said that they had been living on frozen vegetables from the surrounding
fields and birds that the children killed. She had just sold the tires from her car
to buy food.”




Look back through the text and picture, now ask yourself the following
questions:
What new information do I know about the woman in the photograph?
Were my ideas about the photograph similar to the photographer’s description?
What was missing from the photograph that I learned from the text?
What did I see in the photograph that can’t be understood through text?
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



Some Sample Answers:
I learned she is 32 and has 7 children. Her family sold tires to get food.
I think my ideas from the photograph were pretty realistic of what’s going on
in her life.
The text told me details that a photograph can’t give me.
In the photograph, I saw the hurt and pain in her eyes that would be hard to
describe in writing .
It’s easy to see that a picture will give us a different description that
what words will tell us, even if they re both about the same scene or
event.
Assignment 2-1b - Thinking
Have you ever heard people compare life to a pathway or a road? Sometimes you may hear the following phrases:
”coming to a fork in the road”
“taking a new turn or direction”
“life at a crossroads”
These are all examples of people comparing events in life to a road or pathway.
Respond to the questions:
1. Think of a choice you have made that has marked a turning point in your life.
For example  Standing up for a friend
 Volunteering in your community
 Trying out for a sports team
Write a paragraph reflecting on that moment and why you made the choice.
2. Now , using that same moment in time, imaging that you made a different choice instead. Write a paragraph
about how your (or someone else’s) life may be different if you had made a different choice.
Assignment 2-1c. - Read the Poem
Read “The Road Not Taken” by Robert Frost found on the next page. Read it through several times. The first time,
become familiar with the words. The second (and more) time, look for the meaning and how you feel about it.
Some vocabulary that might help:
Diverged - branched off in different directions
Converged - moved toward each other
Hence - in the future
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The Road Not Taken
Robert Frost (1874–1963)
TWO roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
5
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
10
15
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference. 20
Assignment 2-1d - Questions about the Poem
Answer the questions showing evidence from the poem for your answers.
1. Which path does the speaker choose?
2. Does the speaker think he will get a chance to travel down the other road at another time in his life?
3. What is the author’s point of view/tone/attitude towards his choice?
4. Do you think the road the speaker took was really the less traveled one? Why?
5. Do you think the speaker regrets his choice, or is happy about it? Why?
6. What type of choices do you think this fork in the road represents for the speaker?
7. What personal choices does this poem remind you of?
Assignment 2-1e - Picture
Study the picture and compare it to the Poem by Frost.
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Assignment 2-1f - Compare
Answer the questions.
1.
2.
3.
4.
5.
6.
7.
What are some similarities between "The Road Not Taken" and the picture representing the poem?
What are some differences between "The Road Not Taken" and the picture representing the poem?
What new information do you know about the photograph or the poem after studying both?
How were you’re your ideas about the photograph similar to the poem’s description?
What is missing from the photograph that can be learned from the text?
What did you see in the photograph that can’t be understood through the text?
IF you had to choose between the text or the photo which one would you choose and why?
Lesson 3 - Source Material
I can identify an author's use of source material. (RL9)
Section 3-1: Romeo and Juliet
Assignment 3-1a - Background
Watch this video to understand more about Shakespeare and his time. Take notes to use in later assignments.
Elizabethan Theater: Shakespeare and the Globe by mistersato411 at https://www.youtube.com/watch?
v=YYfM0RFZ5cs
Assignment 3-1b - Where Did the Idea for Romeo and Juliet Come From?
Watch the video. Take notes to be used in later assignments.
The Origin of Romeo and Juliet by mrbruff at https://www.youtube.com/watch?v=TSE04T8fcts
Assignment 3-1c - More Information
Read the following article excepts. Take notes to be used in later assignments.
Adapted/excerpted from towson.edu
Shakespeare's Sources by Tiffany Howe
Shakespeare's Romeo and Juliet is one play in a series of stories about two young lovers with feuding families. The
first known story was in the fifth century A.D. called Ephesiaca by Xenophon of Ephesus. The wife is separated from
her husband and to avoid marrying another man, she takes a sleeping potion. She wakes up in a tomb and is carried
off for other adventures.
Based on this story is Masuccio's Il Novellino of 1476. It is an Italian story about Mariotto and Giannozza. A Friar
secretly marries them, and then Mariotto kills an important citizen and is exiled to Alexandria. Giannozza takes a
sleeping potion to avoid marrying a man of her father’s choosing and after being buried, sneaks away to Alexandria. Pirates capture the messenger that was going to tell Mariotto that Giannozza was not really dead. Therefore,
when Mariotto hears of her death, he returns home and tries to open the tomb. He is beheaded and Giannozza
comes back and dies in a convent. The sequences of events in this story are very similar to Romeo and Juliet.
In 1530 Luigi da Porto published Historia novellamente ritrovata di due Nobili Amanti based on Masuccio's story
but set in Verona with feuding families, the Montecchi and the Cappelletti. Romeo meets Giulietta at a Carnival ball
and forgets about an unrequited love he has for another girl. They see each other at church and Romeo visits her
chamber window. Romeo mistakes Giulietta's sleeping for her death and kills himself. When Giulietta wakes she
"drew in her breath and held it long, and then, uttering a great cry, fell dead on the corpse of Romeo."
Inspired by Porto, Matteo Bandello wrote Novelle in 1554. In this version, Julietta wants to run off with the banished Romeo but he forbids it. Romeo writes a letter to his father explaining everything when he learns the false
news that Julietta is dead. Julietta and Romeo share a scene in the tomb where they are both alive.
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Pierre Boaistuau translated this version by Bandello into French in 1559 in his Histoires Tragiques. For the first time
the names Romeo and Juliet are used in the story. Romeo attends the ball hoping he will find a new woman so he will
forget about his unrequited love. Juliet's father shows his temper with Juliet for not wanting to marry the Count Paris
introducing the power of the father figure. Also, Romeo dies before Juliet awakens and she kills herself with Romeo's
dagger.
The [most immediate] source that Shakespeare must have used is Arthur Brooke's poem The Tragicall Historye of
Romeus and Juliet published in 1962. Brooke was a writer during the 'Drab Age' but Shakespeare was able to dramatize Brooke’s poem into an emotional play.
It is not certain whether Shakespeare did use all of these sources but there is an obvious connection between
them. The most influential for Shakespeare seems to have been the narrative poem by Arthur Brooke. Regardless of
the sources, most scholars would agree that Romeo and Juliet by William Shakespeare is a masterpiece manipulating
language and human interaction.
Assignment 3-1d - Even Further Back
A much earlier version of the story of Romeo and Juliet comes from the Greek myth of Pyramus and Thisbe. Read the
story of this myth. The written record of this story was originally by Ovid (43BC-AD 17), but it was passed on orally for
many generations.
Pyramus and Thisbe
Pyramus was the handsomest youth, and Thisbe the fairest maiden, in all Babylonia. Their parents occupied
adjoining houses. Being neighbors, the young people knew each other and as they grew, they fell deeply in love. They
would have married, but their parents feuded with each other and forbade the relationship. This did not stop their
love. They conversed by signs and glances, and the fire burned more intensely for being covered up.
In the wall that parted the two houses there was a crack. No one had remarked it before, but the lovers discovered it. Through this crack, they would talk and pass notes to each other daily.
One morning, at dawn, they met at the accustomed spot. Then, after lamenting their hard fate, they agreed
that next night, when all was still, they would slip away from the watchful eyes of their parents and run away together.
They made the plan to meet at a well-known place just outside of the city. They agreed that the one who came first
should await the other at the foot of a certain tree. It was a white mulberry tree, and stood near a cool spring. All was
agreed on, and they waited impatiently for the sun to go down beneath the waters and night to rise up from them.
Cautiously, Thisbe left, unobserved by the family, her head covered with a veil, and made her way to the
meeting place and sat down under the tree. As she sat alone in the dim light of the evening she saw a lioness whose
jaws were red with a recent kill. The lioness was coming to the small pond by the tree to drink. Thisbe, frightened,
fled at the sight, and sought refuge in the hollow of a rock. As she fled she dropped her veil. The lioness after drinking
at the spring turned to retreat to the woods, and seeing the veil on the ground, tossed and rent it with her bloody
mouth.
Pyramus, having been delayed, now approached the meeting place. He saw in the sand the footsteps of the
lion, and the color fled from his cheeks at the sight. Presently he found the veil all rent and bloody. "O hapless girl,"
said he, "I have been the cause of thy death! Thou, more worthy of life than I, hast fallen the first victim. I will follow. I
am the guilty cause, in tempting thee forth to a place of such peril, and not being myself on the spot to guard thee.
Come forth, ye lions, from the rocks, and tear this guilty body with your teeth." He took up the veil, carried it with him
to the appointed tree, and covered it with kisses and with tears. "My blood also shall stain your texture," said he, and
drawing his sword plunged it into his heart. The blood spurted from the wound, and tinged the white mulberries of the
tree all red; and sinking into the earth reached the roots, so that the red color mounted through the trunk to the fruit.
By this time Thisbe, still trembling with fear, yet wishing not to disappoint her lover, stepped cautiously forth,
looking anxiously for the youth, eager to tell him the danger she had escaped. When she came to the spot and saw the
changed colour of the mulberries she doubted whether it was the same place. While she hesitated she saw the form of
one struggling in the agonies of death. As soon as she recognized her lover, she screamed and beat her breast, embracing the lifeless body, pouring tears into its wounds, and imprinting kisses on the cold lips. "O Pyramus," she cried,
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"what has done this? Answer me, Pyramus; it is your own Thisbe that speaks. Hear me, dearest, and lift that drooping
d!" At the name of Thisbe, Pyramus opened his eyes, then closed them again. She saw her blood stained veil and the
scabbard empty of its sword. "Thy own hand has slain thee, and for my sake," she said. "I too can be brave for once,
and my love is as strong as thine. I will follow thee in death, for I have been the cause; and death which alone could
part us shall not prevent my joining thee. And ye, unhappy parents of us both, deny us not our united request. As love
and death have joined us, let one tomb contain us. And thou, tree, retain the marks of slaughter. Let thy berries still
serve for memorials of our blood." So saying, she plunged the sword into her breast. Her parents ratified her wish, the
gods also ratified it. The two bodies were buried in one sepulcher, and the tree ever after brought forth purple berries,
as it does to this day.
Assignment 3-1e - Compare Sources
Answer the questions fully and with evidence from your reading and watching.
1.
2.
3.
4.
Why do you think Shakespeare chose to write a play influenced by the Greek myth Pyramus and Thisbe?
Was it fair of Shakespeare to use Brooke’s poem? Why or why not?
Who owns a particular story? Explain and give examples.
Do you prefer to know before you read or watch a play/movie/book what is going to happen? Why or why not?
Explain and give examples.
Unit 3 - Reading Informational Texts
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Developing claims
I can analyze how ideas or claims are developed. (RI5)
Section 1-1: Analyzing Ideas
Assignment 1-1a - Read the I-Search Paper
You will eventually be writing an I-Search of your own. Start by reading through this example to see what an ISearch paper is.
Here are two sample papers. Choose 1 to read and work with in other assignments.
“MY I-Search Paper” by Shawn Tierney at http://faculty.buffalostate.edu/wahlstrl/i-search/shawn_public_speaking/
MyI.html
“Living with Asthma” from https://docs.google.com/document/preview?
hgd=1&id=1JmkNi2MWU0npPz1AJaronLTY6dYRJO8TmnJBXE2bTMA
Assignment 1-1b. - Analyze Ideas
Copy the worksheet on the next page. Fill it in with the information using the I-Search paper that you read. Re-read as
many times as necessary.
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English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Lesson 2 - Point of View
I can determine and analyze point of view in informational texts. (RI6)
Section 2-1: Determining and Analyzing
There is no first, second, or third person narrative point-of-view in informational text. Point of View in informational
text refers to the author’s attitude/opinion/purpose, etc. About the topic. Here is a short excerpt from the CCSS Literacy eHandbook to help in determining point of view in informational text.
Author Point of View
An author of informational text uses different strategies to convey his or her purpose or point of view on a particular
topic. Sometimes it is easy to recognize an author’s point of view. Other times you need to analyze the text carefully
to detect that point of view.
To determine an author’s point of view, ask yourself these four questions.
1. What main idea is the author trying to convince readers to agree with?
2. How does the author’s choice of words influence how readers think about the topic?
3. How does the author’s choice of facts or examples influence how readers think about the topic?
4. What does the author want to accomplish in this text?
Assignment 2-1a - Read
Make a copy of the following essay excerpt As you read, circle the positive words and underline the negative words.
This will help as you decide point of view.
Cry, Wolf
By Ella Berven
Excerpt taken from ccsdut.org published in 1995.
Three little pigs dance in a circle singing "Who's afraid of the big, bad wolf?"
Little Red Riding Hood escapes the cunning advances of the ravenous wolf disguised as her grandmother.
Movie audiences shriek as a gentle young man is transformed before their eyes into a blood-thirsty werewolf,
a symbol for centuries of the essence of evil.
Such myths and legends have portrayed the wolf as a threat to human existence. Feared as cold-blooded killers, they were hated and persecuted. Wolves were not merely shot and killed; they were tortured as well. In what was
believed to be a battle between good and evil, wolves were poisoned, drawn and quartered, doused with gasoline and
set on fire, and, in some cases, left with their mouths wired shut to starve (Begley 53). Convinced that they were a
problem to be solved, U.S. citizens gradually eradicated gray wolves from the lower 48 states over a period of 25 years.
Today many people are convinced that the elimination of the gray wolf was not only an error, but also a detriment to the quality of life in this country. There has been a public outcry to rectify the situation created by the ignorance of our ancestors. However, in seeking to address a situation created by the human compulsion to control nature,
it is crucial to discern how much human interference is necessary. Human control must be tempered by respect and
restraint. Programs designed for the protection and restoration of wildlife must reflect deference for the natural order
rather than dominance over it.
...
In 1995, it is obvious that the hatred and fear which fueled the elimination of the gray wolf [from many areas]
stemmed from a gross misunderstanding of wolves and their behavior. Cultural myths picturing wolves as scheming,
aggressive beasts plotting to pounce on innocent victims do not reflect the truth. In reality, wolves are elusive crea23 - Revised 4/6/2015
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English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
tures who keep to themselves. The wolf's social structure is much like ours. They live in family units called packs consisting of a mated pair, young pups, and older offspring. It is through the intricate relationships and interactions within
the pack that offspring learn how to live as adult wolves. As the environmentalist Charles Bergman points out, "Wolves
are intensely social animals, living in packs that are structured in rigid hierarchies. In the chain of power each wolf has a
defined place on a ladder of dominance and submission" (3l). The entire pack works together according to position to
raise and nurture the pups, teaching them a highly sophisticated system of communication used "for expressing their
status relative to each other" (Bergman 31). Also, from parents and older siblings, young wolves learn not only how to
hunt, but what to hunt as well. Wolves are trained early to go after certain prey and leave others alone. Since their
prey is usually larger and stronger than they, wolves are taught specifically to hunt the weak and sick in order to avoid
injury.
...
Works Cited
Askins, Renee. "Releasing Wolves from Symbolism." Harpers April 1995: 15-17.
Begley, Sharon with Daniel Glick. "The Return of the Native." Newsweek 23 Jan. 1995: 53.
Bergman, Charles. Wild Echoes: Encounters With the Most Endangered Animals in North America New York: McGrawHill, 1990.
Assignment 2-1b - Questions
Answer the questions about the excerpt from “Cry, Wolf.”
1.
2.
3.
4.
What main idea is the author trying to convince readers to agree with?
How does the author’s choice of words influence how readers think about the topic?
How does the author’s choice of facts or examples influence how readers think about the topic?
What does the author want to accomplish in this text?
Assignment 2-1c - Put It All Together
Using your answers to the questions in 2-1b, write a 2-3 paragraph and well evidenced discussion of the point of view
of the excerpt from “Cry, Wolf.”
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English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Lesson 3 - Analyzing Different Mediums
I can analyze the accounts of same subject in two different mediums. (RI7)
Section 3-1: Same Subject—Different Mediums
On January 13, 1982, Air Florida (FL90) went down. Learn about his tragic event. At the same time, contemplate how
different mediums convey information.
Assignment 3-1a - Watch
Watch this newscast about a plane crash.
Air Florida 90 Crash in 1982 - Washington, DC by 9NEWS NOW at https://www.youtube.com/watch?v=PAT5aBaHp8A
Assignment 3-1b - Read
Read the essay “The Man in the Water” by Roger Rosenblatt.
The Man in the Water
Roger Rosenblatt
Adapted from nexuslearning.net
1
As disasters go, this one was terrible but not unique, certainly not among the worst on the roster of U.S. air crashes.
There was the unusual element of the bridge, of course, and the fact that the plane clipped it at a moment of high
traffic, one routine thus intersecting another and disrupting both. Then, too, there was the location of the event.
Washington, the city of form and regulations, turned chaotic, deregulated, by a blast of real winter and a single slap of
metal on metal. The jets from Washington National Airport that normally swoop around the presidential monuments
like famished gulls were, for the moment, emblemized by the one that fell; so there was that detail. And there was the
aesthetic clash as well—blue-and-green Air Florida, the name a flying garden, sunk down among gray chunks in a black
river. All that was worth noticing, to be sure. Still, there was nothing very special in any of it, except death, which,
while always special, does not necessarily bring millions to tears or to attention. Why, then, the shock here?
2
Perhaps because the nation saw in this disaster something more than a mechanical failure. Perhaps because people
saw in it no failure at all, but rather something successful about their makeup. Here, after all, were two forms of nature
in collision: the elements and human character. Last Wednesday, the elements, indifferent as ever, brought down
Flight 90. And on that same afternoon, human nature—groping and flailing in mysteries of its own—rose to the occasion.
Of the four acknowledged heroes of the event, three are able to account for their behavior. Donald Usher and Eugene
Windsor, a park-police helicopter team, risked their lives every time they dipped the skids into the water to pick up
survivors. On television, side by side in bright blue jumpsuits, they described their courage as all in the line of duty.
Lenny Skutnik, a 28-year-old employee of the Congressional Budget Office, said: “It’s something I never thought I
would do”—referring to his jumping into the water to drag an injured woman to shore. Skutnik added that “somebody
had to go in the water,” delivering every hero’s line that is no less admirable for its repetitions. In fact, nobody had to
go into the water. That somebody actually did so is part of the reason this particular tragedy sticks in the mind.
3
But the person most responsible for the emotional impact of the disaster is the one known at first simply as “the man
in the water.” (Balding, probably in his 50s, an extravagant moustache.) He was seen clinging with five other survivors
to the tail section of the airplane. This man was described by Usher and Windsor as appearing alert and in control. Every time they lowered a lifeline and flotation ring to him, he passed it on to another of the passengers. “In a mass casu-
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English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
alty, you’ll find people like him,” said Windsor. “But I’ve never seen one with that commitment.” When the helicopter
came back for him, the man had gone under. His selflessness was one reason the story held national attention; his anonymity another. The fact that he went unidentified invested him with a universal character. For a while he was Everyman, and thus proof (as if one needed it) that no man is ordinary.
Still, he could never have imagined such a capacity in himself. Only minutes before his character was tested, he was
sitting in the ordinary plane among the ordinary passengers, dutifully listening to the stewardess telling him to fasten
his seat belt and saying something about the “No Smoking” sign. So our man relaxed with the others, some of whom
would owe their lives to him. Perhaps he started to read, or to doze, or to regret some harsh remark made in the office
that morning. Then suddenly he knew that the trip would not be ordinary. Like every other person on that flight, he
was desperate to live, which makes his final act so stunning.
4
For at some moment in the water he must have realized that he would not live if he continued to hand over the rope
and ring to others. He had to know it, no matter how gradual the effect of the cold. In his judgment he had no choice.
When the helicopter took off with what was to be the last survivor, he watched everything in the world move away
from him, and he deliberately let it happen.
Yet there was something else about our man that kept our thoughts on him, and which keeps our thoughts on him still.
He was there, in the essential, classic circumstance. Man in nature. The man in the water. For its part, nature cared
nothing about the five passengers. Our man, on the other hand, cared totally. So the timeless battle commenced in the
Potomac. For as long as that man could last, they went at each other, nature and man; the one making no distinctions
of good and evil, acting on no principles, offering no lifelines; the other acting wholly on distinctions, principles, and,
one supposes, on faith.
5
Since it was he who lost the fight, we ought to come again to the conclusion that people are powerless in the world. In
reality, we believe the reverse, and it takes the act of the man in the water to remind us of our true feelings in this
matter. It is not to say that everyone would have acted as he did, or as Usher, Windsor, and Skutnik. Yet whatever
moved these men to challenge death on behalf of their fellows is not peculiar to them. Everyone feels the possibility in
himself. That is the abiding wonder of the story. That is why we would not let go of it. If the man in the water gave a
lifeline to the people gasping for survival, he was likewise giving a lifeline to those who observed him.
The odd thing is that we do not even really believe that the man in the water lost his fight. “Everything in Nature contains all the powers of Nature,” said Emerson. Exactly. So the man in the water had his own natural powers. He could
not make ice storms, or freeze the water until it froze the blood. But he could hand life over to a stranger, and that is a
power of nature too. The man in the water pitted himself against an implacable, impersonal enemy; he fought it with
charity; and he held it to a standoff. He was the best we can do.
Assignment 3-1c - Watch
Watch and listen to the actual recording from the cockpit as the plane goes down. This video also reads the previous
essay. You may reread while you listen.
The Man in the Water by Jaguar English at https://www.youtube.com/watch?v=Dz9JKtvC_wE
Assignment 3-1d - Write
Answer the questions about what you have seen and heard. Explain all answers fully making specific reference to the
videos and the essay.
1. What new information do you get about the event from the essay?
2. What is missing in the essay from what you learned in the newscast?
3. What difference does it make to watch pictures as the essay is read to you/
4. If you had to make a choice in reporting this event would you choose words (the essay) or pictures?
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Unit 4 - Writing
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper. When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be
sure to keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of
this module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Writing an I-Search Paper
I can write well-organized, informative/explanatory text formatted to include graphics and multimedia. (W2)
I can conduct research and determine credibility of sources. (W7)
I can effectively gather information with citations while avoiding plagiarism. (W8)
I can draw evidence from literary and informational text. (W9)
There are many types of informative/explanatory texts. For this unit, you will be writing an I-Search paper like the one you read in the previous unit. To write an I-Search paper, you pick a subject you have a
personal connection to or interest in. You write about this subject from a personal point of view.
Section 1-1: Prewriting
Assignment 1-1a - Review
Review the process for writing a research paper.
Watch 10 Steps for Writing a Research Paper by CCFTL1’s channel at https://www.youtube.com/watch?
v=QtHHv6Q-AB8
Assignment 1-1b - Brainstorm
Write a response for each of the following items. List as many ideas as you come to mind when a list is part of
the response. This should generate ideas that you will choose from for your paper.
1. I always wanted to know more about . . .
2. I need help with . . .
3. I always wanted to travel to . . .
4. The following factors have the greatest impact on my life . . . because . . .
5. Choose a natural occurrence, such as earthquakes or tornadoes, and write five questions you have about its
causes or effects.
6. What kinds of music do you think led to contemporary types of music?
7. Describe a sport you have seen but would like to understand better.
Assignment 1-1c – Narrow Your Choices
From the ideas in your brainstorm, choose 3– 5 that you would be most interested in researching
I would be most interested in researching 1.
2.
3.
4.
5.
My final choice for my I-Search paper is ______________________________________________________
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English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
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Assignment 1-1d - Prewrite
Copy and fill out the following organizer. You are not limited to the space in the organizer. Use more paper if needed:
I-Search Organizer
What is my topic?
Why am I interested in this topic?
What do I already know about this topic?
What do I hope to learn from my research?
Research Question: (Keep in mind that you should not be able to answer your research question with
a single word. Ideally, it should give rise to more detailed questions.)
Look at your research question and divide it into several (at least five) more detailed questions. Write
them here:
1.
2.
3.
4.
5.
Keep in mind the I-Search should follow these guidelines .
Purpose: Why am I writing this paper?
Audience: Who is my audience?
Tone: What tone of voice should I use/
Other -
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Section 1-2: Researching
Assignment 1-2a - Evaluating Internet Sources
You will need to use a minimum of three sources for your paper. Most of your sources will be from the internet for
you paper. Review how to determine a reliable source by watching the videos. Take notes. Make sure you know
what CAPOW stands for.
Intent Skills 1: How to Evaluate a Website by UBC LEAP at https://www.youtube.com/watch?v=0UuShwtYpGg
Evaluating Internet Sources by downsjoneslib at https://www.youtube.com/watch?v=oxd9iwQ_pt4
Assignment 1-2b - Research Journal
It is important that you keep a record of your research so that you will have this information when you write the story
of your search. To record you progress, start a search journal in a notebook (paper or electronic=your choice).
Here is an example of what is expected to be turned in as a journal. Modify to meet your needs.
For Source Information , you need as much of the following information as you can find:
For internet site
Author
Name of Web Page
Name of Web Site
Year /Month/Day/URL
For Book
Author
Title
Year
City/Publisher
For journal article
Author
Title
Journal Name
Year/Pages
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Other Sources—Look up needed
info
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
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Assignment 1-2c - Start Research
Here are a few places you may go to start your research.
Pioneer Library - http://pioneer.uen.org/k12/
Google for Teens - http://www.safeteens.com/child-safe-search/
InstGgrok - http://www.instagrok.com/
Assignment 1-2d - Plagiarism
Go to this website to review what plagiarism is. Click on the page links on the left side and study the information in
each section. There will be not be a written assignment, but you will be expected to understand fully.
Your I-search paper will show that you understand how to avoid plagiarism. Please know that if you happen to plagiarize you will fail on the I-Search paper. Also, you can not claim that you didn't know you were plagiarizing since you
were told to read and understand the information on this page.
Section 1-3: Outlining
Assignment 1-3a - Thesis Statement
Your thesis is the main idea of your report. It is the answer to your research question.
Sample: Research question = “Can I manage my asthma so that I can lead a full, active life”
Thesis = I can manage my asthma so that I can lead a full, active life by following my doctor’s instructions on
medication, by avoiding pets, by sticking to an exercise program, and by minimizing the effects of allergens that can
trigger asthma episodes.”
The key is that you answer your research question, and that your answer consists of one good sentence
that can stand on its own.
Revisit your I-Search pre-write. Refine your research question and write a thesis for you paper.
Refined Research Question _________________________________________________________________
Thesis___________________________________________________________________________________
A successful thesis statement -
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
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Assignment 1-3b - Outline
Create your outline using the organizer below. The better outline you make the easier your paper will be. Note:
Marking where you will place your citations will also help. You may copy or recreate the organizer. Do not limit
yourself to the space provided. Use as much paper and room as needed.
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
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Section 1-4: Writing
Assignment 1-4a - Rough Draft
Using your outline, right the first draft of your I-Search paper. Keep the purpose and audience in mind as you write.
Because of the nature of this paper, you should use “I” as you write, but be careful not too informal. You should not
use slang or nonstandard English. Also remember that this is a rough draft and does not need to be perfect. You will
revise and edit later. The first thing to do is to get all of your ideas and thoughts down on paper.
Note: If you are not sure how to write a good hook for your paper, go to How to Write a Hook by mistersato411 at
https://www.youtube.com/watch?v=Rnq17dyxyu4
Assignment 1-4b - Works Cited
The next step is to write your Works Cited page.
There are several easy ways to do this. Let’s list three. You may choose which to use. Since this is an English class,
use MLA formatting.
1. Look at a style guide and follow the information for creating your own Work Cited page. There are many good
sources. Here is an excellent example:
OWL MLA Works Cited page: Basic Format at https://owl.english.purdue.edu/owl/resource/747/05/
2. Use an online source that creates your work cited page for you.
Citation Machine at http://www.citationmachine.net/mla/cite-a-book
Go to the website.
 Choose the type of source you have.
 Fill in the information.
 Click Make Citation.
 Copy and paste to your Works Cited page.
3. Let Word do it for you.
Here is a quick tutorial that will show you how to set up the Works Cited page in Word 2007 (you will have to adapt a
little for other versions. — Creating MLA works Cited Page in Word 2007 by gyrewal at https://www.youtube.com/
watch?v=-DI5Gsx0V74
You can also find step by step instructions for using Word on the next page if that is easier for you.
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English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Creating a Works Cited Page in Word. Note: Each version of Word is slightly different, but the basics are the
same.
Entering Source Information
1. At the end of your typed paper, go to a new page. OR Open a new document in Word.
2. Click References.
3. Under Style, choose MLA Seventh Edition or higher. (Always use the most recent edition since the rules
change often.)
4. Click Manage Sources.
5. Click New.
6. Choose the type of Source.
7. Fill in the appropriate blanks with the information from a source.
8. Click OK.
9. Repeat step 5 through 8 for each source.
*Note that most styles no longer ask for the URL address.
10. Make sure that all the sources you have used for this paper are on the Current List side in the Source manager. If a source that you need is only on the left side and not in the current list  Click on the source to highlight it.
 Click Copy.
 It should now be on the Current List.
If a source in your Current List is not one you used for your paper  Click on the source to highlight it.
 Click Delete.
 It should now be gone from your Current List but still be available on the Master List.
11. Close when done with all of the sources.
Works Cited Page
1. Click Bibliography from the References tab.
2. Click on Works Cited.
Done!
Here is an example of a Works Cited page as a reference.
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 1-4c - In-Text Citations
Whenever you use information that isn't common knowledge, specific dates or data, and direct quotes, you have to
credit the source. Make sure that you have an in-text citation everywhere in your paper where credit is due. Once
again, use the either of the writer’s models for example.
“MY I-Search Paper” by Shawn Tierney at http://faculty.buffalostate.edu/wahlstrl/i-search/shawn_public_speaking/
MyI.html
“Living With Asthma” from https://docs.google.com/document/preview?
hgd=1&id=1JmkNi2MWU0npPz1AJaronLTY6dYRJO8TmnJBXE2bTMA
MAKING IT EASY
If you used Word to create your Works Cited Page, you already have all of the information recorded to use Word to
create your in-text citations. Follow these instruction if you choose to use this method.
From your Word document—
1. Click References.
2. Make sure you have chosen the latest edition of MLA under Style.
3. Check under Manage Sources to make sure that all of the sources for this paper are in the Current List. If you
have done your Works Cited page, they should still be there.
4. Put your cursor where you want the citation to go. Usually this is at the end of the sentence and always before
the period.
5. Click the down arrow by Insert Citation.
6. Choose the source you want to cite and click on it.
7. Done.
Don’t forget to put the period after the parenthesis.
As a review of types of in-text citations, go to MLA In-Text Citations: The Basics at https://owl.english.purdue.edu/
owl/resource/747/02/.
Section 1-5: Re-
vising and Editing
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Famous writers revise their works several times. Very few writers get it just right the first time. You should revise at
least twice.
Assignment 1-5a - Revision 1
Copy or recreate the following guidelines for your first revision. Keep all of your drafts and revisions to be turned in.
Fill in columns one and two, revise your paper, then fill in column three.
QUESTIONS
DO THIS
CHANGES YOU MADE
1. Does the thesis
answer the research
question?
Underline the thesis statement.
Box the research results.
When revising:
Keep only the ones that answer the question, and add missing results.
2. Is the paper arranged in a logical order?
Number each step in the order it happened.
When revising:
Reorder in a logical manner and add good
transitions if needed.
3. Are the search results with evidence
and cited properly?
Circle results of the search.
Underline information from sources.
Put a star by your citations.
When revising:
Add needed evidence and missing citations.
4. Are enough (3 or
Highlight information taken from your
more) recent, reliable, notes.
and objective print
and non-print sources When revising:
used?
Continue research and add any new
sources if needed.
5. Does the conclusion tell how the research experience affected the writer?
Bracket sentences that describe effects.
When revising:
Modify the conclusion to make it effective.
6. Is the Works Cited
list complete and correctly formatted?
Put a check mark beside parenthetical citations with correctly formatted entries in
the works Cited list.
When Revising:
Remove sources from the Works Cited list
that are not cited in the paper. Add
sources to the Works Cited page that are
used in the paper but not yet listed.
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English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 1-5b - Revision 2
Before revising again, use the following as a peer review. Have a student, family member, etc. , read through your
paper using the following graphic to give you feedback. Revise your paper according to the feedback that you feel is
helpful. Keep all drafts and revisions to turn in.
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
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Assignment 1-5c - Editing
Do a final edit. Correct all spelling, punctuation, grammar, and formatting errors. Remember the purpose of editing
is to make the paper look better. Take a pen or pencil of a different color to your paper and mark what needs to be
changed. Using a highlighter is a good way to mark phrases. It is also a good idea to find a peer editor to read
through the paper and help you see errors you don’t catch.
Assignment 1-5d - Final Draft
Make a final draft of your paper. You will be graded according to the requirements.
Requirements:
The thesis statement answers the research question.
The search story is in a logical order.
The search results are supported by information from outside sources—3 or more.
The conclusion tells how the research experience affected the writer.
The Works cited is complete and correctly formatted.
The I-search paper is informative and engaging - a minimum of 5 paragraphs.
No more than three language mistakes—punctuation, spelling, mechanics, grammar.
Unit 5 - Speaking and Listening
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to keep
all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this module /
packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Publishing
I can enhance understanding with digital media. (SL5)
Section 1-1: Create a Presentation
Assignment 1-1a - Explore
Explore the possible presentation makers, then pick one and tell why you chose that method. This presentation must
be done with a presentation maker as technology use is part of the standards expectation.
Explain Everything
iMovie
Educreation
PowerPoint
Prezi
Other of your choice
I will make my presentation with ___________________ because
Assignment 1-1b - Plan Your Presentation
Refer to the outline you created for you I-Search paper in the writing unit. Use this to create your presentation. Add
graphics, data, video, music, or other media to make it interesting.
37 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 1-1c - Create and Present
Create your presentation. You may upload to YouTube, share with email, use a flash drive, or present it live.
Expectation:
 It is informative.
 It is well-structured and interesting to watch.
 It has no grammatical, punctuation, or spelling mistakes.
 It includes a voice recording if your presentation tool allows it.
 It is your best effort.
STOP!
CHECKLIST - Gather and turn in all of the following for credit. Mark each assignment you have done and/or included. Attach this check-off sheet to the
front of your work:
Pre-assessment Score _____________
Unit 1 – Language
Lesson 1 – MLA
Section 1-1: What Is MLA Formatting
_____Assignment 1-1a - Watch
_____Assignment 1-1b - Read
_____Assignment 1-1c - Quiz
Lesson 2 - Euphemism and Oxymoron
Section 2-1: What Are Euphemism and Oxymoron?
_____Assignment 2-1a - Definitions
_____Assignment 2-1b - Euphemism Quiz
_____Assignment 2-1c - Oxymoron Quiz
_____Unit Quiz
Unit 2 - Reading Literature
Lesson 1 - Point of View
Section 1-1: Discovering Point of View
_____Assignment 1-1a - What Is Point of View
Section 1-2: Practicing Point of View
_____Assignment 1-2a - Read
_____Assignment 1-2b - Questions
Section 1-3: Application to Cultural Experience
38 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
_____Assignment 1-3a - Don Quixote
Lesson 2 - Looking at the Same Subject in Different Mediums
Section 2-1: Subjects in Two different Artistic Mediums
_____Assignment 2-1a - Read
_____Assignment 2-1b - Thinking
_____Assignment 2-1c - Read the Poem
_____Assignment 2-1d - Questions about the Poem
_____Assignment 2-1e - Picture
_____Assignment 2-1f - Compare
Lesson 3 - Source Material
Section 3-1: Romeo and Juliet
_____Assignment 3-1a - Background
_____Assignment 3-1b - Where Did the Idea of Romeo and Juliet Come From?
_____Assignment 3-1c - More Information
_____Assignment 3-1d - Even Further Back
_____Assignment 3-1e - Compare Sources
Unit 3 - Reading Informational Text
Lesson 1 - Developing Claims
Section 1-1: Analyzing Ideas
_____Assignment 1-1a - Read the I-Search Paper
_____Assignment 1-1b - Analyze Ideas
Lesson 2 - Point of View
Section 2-1: Determining and Analyzing
_____Assignment 2-1a - Read
_____Assignment 2-1b - Questions
_____Assignment 2-1c - Put It All Together
Lesson 3 - Same Subject - Different Mediums
_____Assignment 3-1a - Watch
_____Assignment 3-1b - Read
_____Assignment 3-1c - Watch
_____Assignment 3-1d - Write
Unit 4 - Writing
Lesson 1 - Writing an I-Search Paper
Section 1-1: Prewriting
_____Assignment 1-1a - Review
_____Assignment 1-1b - Brainstorm
_____Assignment 1-1c - Narrow Your Choices
_____Assignment 1-1d - Prewrite
Section 1-2: Researching
39 - Revised 4/6/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 3 Module
Credit Recovery
Aligned to Utah ELA Standards
_____Assignment 1-2a - Evaluating Internet Sources
_____Assignment 1-2b - Research Journal
_____Assignment 1-2c - Start Research
_____Assignment 1-2d - Plagiarism
Section 1-3: outlining
_____Assignment 1-3a - Thesis Statement
_____Assignment 1-3b - Outline
Section 1-4: Writing
_____Assignment 1-4a - Rough Draft
_____Assignment 1-4b - Works Cited
_____Assignment 1-4c - In-Text Citations
Section 1-5: Revising and Editing
_____Assignment 1-5a - Revision 1
_____Assignment 1-5b - Revision 2
_____Assignment 1-5c - Editing
_____Assignment 1-5d - Final Draft
Unit 5 - Speaking and Listening
Lesson 1 - Publishing
Section 1-1: Create a Presentation
_____Assignment 1-1a - Explore
_____Assignment 1-1b - Plan Your Presentation
_____Assignment 1-1c - Create and Present
Now, you must also:
Pass the final assessment
*NOTE: You must pass off all the work for each section. You must
also pass the end-of-module assessment at 60% or higher.
Post-Assessment Score _____
40 - Revised 4/6/2015