Teacher Support Materials

Transition to Common Core Standards

Grade 6 English Language Arts Module 2

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS January 2014

Dear English Teachers,

The enclosed materials are provided to support your successful instruction of the required ELA Learning Module for Semester 2 as you address the focus Common Core State Standards (CCSS) for this module. While we recognize that you will be introducing additional standards during semester 2, the SBAC-like District Performance Task (Assessment) being developed in collaboration with lead teachers will focus on the CCSS listed on the ELA Module 2 for your grade level. This second integrated Reading/Writing Assessment will be delivered in early March and must be administered and entered into EduSoft by May 30, 2014.

The teacher packet includes copies of the selections found in the student packet that support the required novel for module 2, as well as instructional resources to assist you during this transition to CCSS.

Student packets (in class sets of 40) contain materials not found in the 2002 Timeless Voices Edition of Prentice Hall that are needed for Module 2:  Additional informational and literary reading selections  Graphic organizers  Materials for formative assessments

Collaboration with lead English teachers began last fall and is ongoing. We want to recognize the outstanding work done by the following teachers for their contributions to these modules which aid in transitioning to the rigorous expectations of the CCSS and the new Smarter Balanced assessments.

Ralph Bedwell – Kennedy High School Curt Douglas – El Cerrito High School Lynn Bernhardt – Hercules Middle School Stephanie Fitch – Richmond High School Caroline Braun – DeAnza High School Lucy Giusto- Hercules Middle School Tuyen Bui – Richmond High School Jessica Jones – Hercules High School Sofia Close – Middle College High School Igor Litvin – Hercules High School Timothy Crugnale – DeAnza High School Dingane Newsom – Crespi Middle School Laura Curtis – Pinole Middle School Madison Schmalz – Richmond High School Lynne Dirk – Hercules Middle School Chris Silva – El Cerrito High School

Please take the time to complete the feedback form so we can use this information to refine and enhance what was produced for next year. Once again thank you in advance for what you all do on a daily basis to ensure that our children are achieving.

Sincerely,

Lyn Potter, Director – Educational Services Sonja Neely-Johnson – Coordinator – Educational Services

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS WCCUSD English Language Arts: Transition to CCSS Grade 6 - Semester 2

January 22, 2014 – June 6, 2014: The teacher-developed ELA Module 2 (semester 2) includes a novel supported by PH and other resources and activities. There will be an integrated Reading/Writing district assessment based on the essential question of this module. The second assessments will be delivered to sites by mid-March and need to be completed prior to the end of Quarter 4 (by May 30, 2014). Please pace the required 4-6 week module accordingly.

Semester 2 Module – Grade 6 Essential Question: What qualities help us in the pursuit of our dreams? Recommended Text: Dragonwings by Laurence Yep *ONLY in new CCSS Edition (TE p.); Supporting Prentice Hall Selections Additional Supporting Primary and Secondary Sources (provided) **BOTH new TE and Timeless Voices SE; No asterisk – ONLY in Timeless Voices (SE p.)  “Breaker’s Bridge” (SE 393 only)  Dragonwings: Historical Context  “The Drive-in Movies”** (TE 46, SE 558)  Historical Photograph: Inspections on Angel Island  “Jackie Robinson – Justice at Last”** (TE 422, SE 325)  “The New Colossus” – Emma Lazarus  “A Backwoods Boy”** (TE 448, SE 316)  ”Boost Intelligence by Focusing on Growth” - Melinda Wenner Moyer  “Song of the Open Road” (SE 302 only)  Jackie Robinson and The Integration of Baseball – Scott Simon: Overview & Excerpts  “Luck vs. Perseverance” – Tyler H. Jolley Instructional Strategies (see reverse) Formative Assessments (see reverse)  Close reading  Collaborative Conversations Exit Slips  Deconstructing Complex Text Common Core ELA Focus Standards for 2nd Semester Module and Assessment:

Reading Standards for Literature and Information Text R.6.1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. R.6.2 Determine a central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments. R.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative….; analyze the impact of a specific word choice on meaning and tone. R.6.5 Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot. Writing Standards W.6.1 Write arguments to support claims with clear reasons and relevant evidence. W.6.2 a-f Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of content… W.6.9 Draw evidence from literary or informational texts to support analysis, reflection, and research. Speaking and Listening Standards SL.6.1 Engage effectively in a range of collaborative discussions with diverse partners, building on other’s ideas and expressing their own clearly. SL.6.1c Pose and respond to specific questions with elaboration and details by making comments that contribute to the topic, text, or issue under discussion. SL.6.2 Interpret information presented in diverse media and formats and explain how it contributes to a topic, text, or issue under study. Language Standards All Language Standards L.6.1-6

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS

COMMON CORE-ALIGNED INSTRUCTIONAL STRATEGIES

Standards Task Suggested Reading Selection Task Description Addressed

Students will tackle the complexities of Emma Lazarus’ poem “The RL.6.1-4, 6 New Colossus” by reading and re-reading the passage while the W.6.9 Close Reading “The New Colossus” teacher asks guiding questions and assigns tasks related to specific SL.6.1 lines in the poem. Materials for this close reading are provided in the teacher packet. L.6.4-6

Close Reading Strategy Tool Kit outlines additional close reading Close Reading Teacher choice RL.6.1-5 annotation strategies which can be used with other selections.

Students will work with a partner and examine the photo to RI.6.2 Collaborative Historical photograph of determine its connection to the novel and its relevance in California SL.6.1-2 Conversation Angel Island history. W.6.9

Students will use a graphic organizer to annotate this reading selection citing evidence of how specific words or sentences Jackie Robinson and the R.6.2 Deconstructing support the central idea. Integration of Baseball RI.6.3 Complex Text Also, see Common Core Companion Workbook pages 116 -122 for and other selections W.6.2 additional graphic organizers and teaching strategies that support students in analyzing key details of a text.

Students will write an argument that addresses the question: Formative Dragonwings and other selections Is “luck” merely chance, or do persistence and opportunity play a W.6.1 Assessment role? Exit Slips are provided for this assignment.

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS Dragonwings (Laurence Yep): Historical Context

Setting: 1903-1910; family farm in China; Oakland, CA

There are a lot of geographical shifts for Moon Shadow, and the move from China to America is a pretty huge one. He leaves the hard work but comfort of his small family farm and finds himself in a foreign land rife with racial tension and cultural shifts.

During the late 1800s, many Chinese immigrants were coming to the United States, which many native-born Americans found very threatening. Particularly in California, white workers feared that Chinese immigrants would take away their jobs. As a result, laws like the Chinese Exclusion Act of 1882 were passed.

What this means for Moon Shadow, immigrating to the United States two decades after the Exclusion Act is passed, is that there's definitely that sense of fear and anger toward Chinese people. Those mindless "Ching Chong China- man" taunts that Jack throws at Moon Shadow are not unique to the world within this book (Ch.7.41-44). Moon Shadow has to embark on a new life in a foreign country, but he has to figure it out while adapting to a land where people will treat him poorly because they associate him with larger political conflicts going on. Granted, this is not a one-way street of xenophobia; Moon Shadow has plenty of ungenerous assumptions about non-Chinese people, too (they are called "white demons," after all). Bottom line: the setting is super important to contextualize Yep's larger message of belonging within our real world and history.

W.6.2 Write informative/explanatory texts to examine a topic and convey ideas….

Task: In your own words, synthesize the information above about the historical context of Laurence Yep’s Dragonwings in a well-structured paragraph that includes a topic or thesis statement and concrete details.

Source: http://www.shmoop.com/dragonwings/setting.html

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS Inspections on Angel Island – Collaborative Conversation Activity Angel Island is the west coast's equivalent to Ellis Island, but located here in the San Francisco Bay area. It has a dark, but important history because the island was used to imprison Chinese immigrants and to hold them indefinitely and without cause (early 1900s).

In Dragonwings, Moon Shadow must pass through inspections on Angel Island. Working with a partner, examine the photo showing this kind of inspection closely, and share your thoughts with each other.

Then answer the question below. Source: http://libraryschool.libguidescms.com/content.php?pid=410093

What inferences can you draw about how Moon Shadow must have felt when he experienced this kind of inspection by looking at this picture?

My thoughts… My partner’s thoughts…

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS The New Colossus

1 Not like the brazen giant of Greek fame,

2 With conquering limbs astride from land to land;

3 Here at our sea-washed, sunset gates shall stand

4 A mighty woman with a torch, whose flame

5 Is the imprisoned lightning, and her name

6 Mother of Exiles. From her beacon-hand

7 Glows world-wide welcome; her mild eyes command

8 The air-bridged harbor that twin cities frame.

9 "Keep ancient lands, your storied pomp!" cries she

10 With silent lips. "Give me your tired, your poor,

11 Your huddled masses yearning to breathe free,

12 The wretched refuse of your teeming shore.

13 Send these, the homeless, tempest-tost to me,

14 I lift my lamp beside the golden door!"

By: Emma Lazarus

Source: www.poemhunter.com

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS

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dĞǆƚ ƵŶĚĞƌŝƐĐƵƐƐŝŽŶ ŝƌĞĐƚŝŽŶƐĨŽƌdĞĂĐŚĞƌƐͬ'ƵŝĚŝŶŐYƵĞƐƚŝŽŶƐ&Žƌ^ƚƵĚĞŶƚƐ EŽƚůŝŬĞƚŚĞďƌĂǌĞŶŐŝĂŶƚŽĨ'ƌĞĞŬĨĂŵĞ͕ ϭ͘/ŶƚƌŽĚƵĐĞƚŚĞƚĞǆƚĂŶĚƐƚƵĚĞŶƚƐƌĞĂĚŝŶĚĞƉĞŶĚĞŶƚůǇ tŝƚŚĐŽŶƋƵĞƌŝŶŐůŝŵďƐĂƐƚƌŝĚĞĨƌŽŵůĂŶĚƚŽůĂŶĚ͖ KƚŚĞƌƚŚĂŶŐŝǀŝŶŐĂŶŝŶŝƚŝĂůŐůŽƐƐƚŽǁŽƌĚƐƐƚƵĚĞŶƚƐǁŽƵůĚůŝŬĞůǇŶŽƚďĞĂďůĞƚŽ ,ĞƌĞĂƚŽƵƌƐĞĂͲǁĂƐŚĞĚ͕ƐƵŶƐĞƚŐĂƚĞƐƐŚĂůůƐƚĂŶĚ ĚĞĨŝŶĞĨƌŽŵĐŽŶƚĞǆƚ;ƵŶĚĞƌůŝŶĞĚŝŶƚŚĞƚĞǆƚ ĂďŽǀĞͿ͕ ƚĞĂĐŚĞƌƐƐŚŽƵůĚ ĂǀŽŝĚŐŝǀŝŶŐ ŵŝŐŚƚǇǁŽŵĂŶǁŝƚŚĂƚŽƌĐŚ͕ǁŚŽƐĞĨůĂŵĞ ĂŶǇďĂĐŬŐƌŽƵŶĚĐŽŶƚĞǆƚŽƌŝŶƐƚƌƵĐƚŝŽŶĂůŐƵŝĚĂŶĐĞĂƚƚŚĞŽƵƚƐĞƚŽĨƚŚĞůĞƐƐŽŶǁŚŝůĞ /Ɛ ƚŚĞŝŵƉƌŝƐŽŶĞĚůŝŐŚƚŶŝŶŐ͕ĂŶĚŚĞƌŶĂŵĞ ƐƚƵĚĞŶƚƐĂƌĞƌĞĂĚŝŶŐƚŚĞƉŽĞŵ ƐŝůĞŶƚůǇ͘dŚŝƐĐůŽƐĞƌĞĂĚŝŶŐĂƉƉƌŽĂĐŚĨŽƌĐĞƐ DŽƚŚĞƌŽĨǆŝůĞƐ͘&ƌŽŵŚĞƌďĞĂĐŽŶͲŚĂŶĚ ƐƚƵĚĞŶƚƐƚŽƌĞůǇĞǆĐůƵƐŝǀĞůǇŽŶƚŚĞƚĞǆƚŝŶƐƚĞĂĚŽĨƉƌŝǀŝůĞŐŝŶŐďĂĐŬŐƌŽƵŶĚ 'ůŽǁƐǁŽƌůĚͲǁŝĚĞǁĞůĐŽŵĞ͖ŚĞƌŵŝůĚĞǇĞƐĐŽŵŵĂŶĚ ŬŶŽǁůĞĚŐĞ͕ĂŶĚůĞǀĞůƐƚŚĞƉůĂǇŝŶŐĨŝĞůĚĨŽƌĂůůƐƚƵĚĞŶƚƐĂƐƚŚĞǇƐĞĞŬƚŽĐŽŵƉƌĞŚĞŶĚ dŚĞĂŝƌͲďƌŝĚŐĞĚŚĂƌďŽƌƚŚĂƚƚǁŝŶĐŝƚŝĞƐĨƌĂŵĞ͘ >ĂǌĂƌƵƐ͛ƐǁŽƌĚƐ͘ /ƚŝƐĐƌŝƚŝĐĂů ƚŽ ĐƵůƚŝǀĂƚŝŶŐŝŶĚĞƉĞŶĚĞŶĐĞĂŶĚĐƌĞĂƚŝŶŐĂĐƵůƚƵƌĞŽĨ Η<ĞĞƉ͕ĂŶĐŝĞŶƚůĂŶĚƐ͕ǇŽƵƌƐƚŽƌŝĞĚƉŽŵƉ͊ΗĐƌŝĞƐƐŚĞ ĐůŽƐĞƌĞĂĚŝŶŐƚŚĂƚƐƚƵĚĞŶƚƐŝŶŝƚŝĂůůǇŐƌĂƉƉůĞǁŝƚŚƌŝĐŚƚĞǆƚƐůŝŬĞ >ĂǌĂƌƵƐ͛ƐƉŽĞŵ tŝƚŚƐŝůĞŶƚůŝƉƐ͘Η'ŝǀĞŵĞǇŽƵƌƚŝƌĞĚ͕ǇŽƵƌƉŽŽƌ͕ ǁŝƚŚŽƵƚƚŚĞĂŝĚŽĨ ƉƌĞĨĂƚŽƌǇŵĂƚĞƌŝĂů͕ĞǆƚĞŶƐŝǀĞŶŽƚĞƐ͕ŽƌĞǀĞŶƚĞĂĐŚĞƌ zŽƵƌŚƵĚĚůĞĚŵĂƐƐĞƐǇĞĂƌŶŝŶŐƚŽďƌĞĂƚŚĞĨƌĞĞ͕ ĞǆƉůĂŶĂƚŝŽŶƐ͘ dŚĞǁƌĞƚĐŚĞĚƌĞĨƵƐĞŽĨǇŽƵƌƚĞĞŵŝŶŐƐŚŽƌĞ͘ ^ĞŶĚƚŚĞƐĞ͕ƚŚĞŚŽŵĞůĞƐƐ͕ƚĞŵƉĞƐƚͲƚŽƐƚƚŽŵĞ͕ Ϯ͘ ZĞĂĚƚŚĞƉĂƐƐĂŐĞŽƵƚůŽƵĚĂƐ ƐƚƵĚĞŶƚƐĨŽůůŽǁĂůŽŶŐ /ůŝĨƚŵǇůĂŵƉďĞƐŝĚĞƚŚĞŐŽůĚĞŶĚŽŽƌ͊Η ƐŬŝŶŐƐƚƵĚĞŶƚƐƚŽůŝƐƚĞŶƚŽ͞dŚĞEĞǁŽůŽƐƐƵƐ͟ĞǆƉŽƐĞƐƐƚƵĚĞŶƚƐĂƐĞĐŽŶĚƚŝŵĞƚŽ ƚŚĞƌŚǇƚŚŵƐĂŶĚŵĞĂŶŝŶŐŽĨ >ĂǌĂƌƵƐ͛Ɛ ůĂŶŐƵĂŐĞďĞĨŽƌĞƚŚĞǇďĞŐŝŶƚŚĞŝƌĐůŽƐĞ ƌĞĂĚŝŶŐŽĨƚŚĞ ƐŽŶŶĞƚ͘^ƉĞĂŬŝŶŐĐůĞĂƌůǇĂŶĚĐĂƌĞĨƵůůǇǁŝůůĂůůŽǁƐƚƵĚĞŶƚƐ ƚŽĨŽůůŽǁ ĂůŽŶŐĂŶĚ ŝŵƉƌŽǀĞƐĨůƵĞŶĐǇǁŚŝůĞŽĨĨĞƌŝŶŐĂůůƐƚƵĚĞŶƚƐĂĐĐĞƐƐƚŽƚŚŝƐĐŽŵƉůĞǆƚĞǆƚ͘ ĐĐƵƌĂƚĞĂŶĚƐŬŝůůĨƵůŵŽĚĞůŝŶŐŽĨƚŚĞƌĞĂĚŝŶŐƉƌŽǀŝĚĞƐƐƚƵĚĞŶƚƐǁŚŽŵĂǇďĞ ĚǇƐĨůƵĞŶƚǁŝƚŚĂĐĐƵƌĂƚĞƉƌŽŶƵŶĐŝĂƚŝŽŶƐĂŶĚƐǇŶƚĂĐƚŝĐƉĂƚƚĞƌŶƐŽĨŶŐůŝƐŚ͘

ĞŶƚƌĂů ŽŶĐĞƌŶηϭ ŝƌĞĐƚŝŽŶƐĨŽƌdĞĂĐŚĞƌƐͬ'ƵŝĚŝŶŐYƵĞƐƚŝŽŶƐ&Žƌ^ƚƵĚĞŶƚƐ ,ŽǁŝƐƚŚĞƐƚƌƵĐƚƵƌĞŽĨƚŚĞƉŽĞŵĂĐůƵĞƚŽƵŶƉĂĐŬŝŶŐŝƚƐ ϯ͘'ƵŝĚĞĚŝƐĐƵƐƐŝŽŶŽĨƚŚĞ ƉŽĞŵ ǁŝƚŚĂƐĞƌŝĞƐŽĨƐƉĞĐŝĨŝĐƚĞǆƚͲĚĞƉĞŶĚĞŶƚƋƵĞƐƚŝŽŶƐĂŶĚƚĂƐŬƐ͘ ŵĞĂŶŝŶŐ͍ ƐƐƚƵĚĞŶƚƐŵŽǀĞƚŚƌŽƵŐŚƚŚĞƐĞƋƵĞƐƚŝŽŶƐ ĂŶĚƚĂƐŬƐ͕ďĞƐƵƌĞƚŽĐŚĞĐŬĨŽƌĂŶĚƌĞŝŶĨŽƌĐĞ dŚŝƐĨŝƌƐƚĐĞŶƚƌĂůĐŽŶĐĞƌŶĂŝŵƐƚŽŐƵŝĚĞƐƚƵĚĞŶƚƐƚŽƌĞĐŽŐŶŝǌĞ ƚŚĞŝƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨĂĐĂĚĞŵŝĐǀŽĐĂďƵůĂƌǇŝŶƚŚĞĐŽƌƌĞƐƉŽŶĚŝŶŐƚĞǆƚ;ǁŚŝĐŚǁŝůůďĞ ƚŚĞĐƌƵĐŝĂůƌŽůĞƚŚĂƚƚŚĞƐƚƌƵĐƚƵƌĞŽĨƉŽĞƚƌǇƉůĂǇƐŝŶ ƵŶƉĂĐŬŝŶŐ ďŽůĚĨĂĐĞĚ ƚŚĞĨŝƌƐƚƚŝŵĞŝƚĂƉƉĞĂƌƐŝŶƚŚĞƚĞǆƚͿ͘ƚƚŝŵĞƐƚŚĞƋƵĞƐƚŝŽŶƐ ƚŚĞŵƐĞůǀĞƐ ŵĂǇ ŝƚƐŵĞĂŶŝŶŐ͘ǇůŽŽŬŝŶŐĂƚŝƚƐƌŚǇŵĞƐĐŚĞŵĞĂŶĚƐǇŶƚĂǆ͕ ĨŽĐƵƐŽŶĂĐĂĚĞŵŝĐǀŽĐĂďƵůĂƌǇ͘ ƐƚƵĚĞŶƚƐĐĂŶ͞ĐŚƵŶŬ͟ƚŚĞƚĞǆƚŝŶƚŽŵĞĂŶŝŶŐĨƵůƐĞĐƚŝŽŶƐĨŽƌ ƐƵďƐĞƋƵĞŶƚĂŶĂůǇƐŝƐ͘ ;YϭͿtŚĂƚŝƐƚŚĞƌŚǇŵĞƐĐŚĞŵĞŽĨƚŚĞƉŽĞŵ͍ tŚĂƚĚŽĞƐƚŚĂƚƌĞǀĞĂůĂďŽƵƚƚŚĞƐƚƌƵĐƚƵƌĞŽĨ ƚŚĞƉŽĞŵ͍ dĞǆƚhŶĚĞƌŝƐĐƵƐƐŝŽŶ ƐŬƐƚƵĚĞŶƚƐƚŽůŽŽŬĂƚƚŚĞĨŝŶĂůǁŽƌĚŝŶƚŚĞĨŝƌƐƚůŝŶĞŽĨƚŚĞƉŽĞŵ;͞ĨĂŵĞ͟ͿĂŶĚƐĞĞŝĨŝƚ EŽƚůŝŬĞƚŚĞ ďƌĂǌĞŶ ŐŝĂŶƚŽĨ'ƌĞĞŬĨĂŵĞ͕ ƐŚĂŵĞůĞƐƐ ƌŚǇŵĞƐǁŝƚŚĂŶŽƚŚĞƌĨŝŶĂůǁŽƌĚŽĨĂůĂƚĞƌ ůŝŶĞ;ƐͿ;͞ĨůĂŵĞ͕͟ ͞ŶĂŵĞ͕͟ ĂŶĚ͞ĨƌĂŵĞ͟Ϳ͘ƐŬ tŝƚŚĐŽŶƋƵĞƌŝŶŐůŝŵďƐ ĂƐƚƌŝĚĞ ĨƌŽŵůĂŶĚƚŽůĂŶĚ͖ ƐƚƵĚĞŶƚƐƚŽĂƐƐŝŐŶĞĂĐŚŽĨƚŚĞƐĞƚŚĞůĞƚƚĞƌ͕ĂŶĚƚŚĞŶŐŽďĂĐŬƚŽƚŚĞƐĞĐŽŶĚůŝŶĞĂŶĚ ,ĞƌĞĂƚŽƵƌƐĞĂͲǁĂƐŚĞĚ͕ƐƵŶƐĞƚŐĂƚĞƐƐŚĂůůƐƚĂŶĚ ƌĞƉĞĂƚƚŚĞƉƌŽĐĞƐƐ͕ŐĞŶĞƌĂƚŝŶŐƚŚĞƌŚǇŵĞƐĐŚĞŵĞŽĨƚŚĞƉŽĞŵ;Ϳ͘ dŚĞ ŵŝŐŚƚǇǁŽŵĂŶǁŝƚŚĂƚŽƌĐŚ͕ǁŚŽƐĞĨůĂŵĞ ƐĐŚĞŵĞƌĞǀĞĂůƐƚŚĂƚƚŚĞƉŽĞŵŝƐĂŶ/ƚĂůŝĂŶƐŽŶŶĞƚ͕ǁŝƚŚƚŚĞĨŝƌƐƚĞŝŐŚƚůŝŶĞƐƐĞƚƚŝŶŐƚŚĞ /ƐƚŚĞ ŝŵƉƌŝƐŽŶĞĚ ůŝŐŚƚŶŝŶŐ͕ĂŶĚŚĞƌŶĂŵĞ ƐƚĂŐĞĨŽƌƚŚĞ ǁŽƌĚƐŽĨƚŚĞƐƚĂƚƵĞŝŶƚŚĞ ĨŝŶĂůƐŝǆ͘ DŽƚŚĞƌŽĨ ǆŝůĞƐ͘&ƌŽŵŚĞƌ ďĞĂĐŽŶͲŚĂŶĚ ƉĞƌƐŽŶƐ ďĂŶŝƐŚĞĚ ;YϮͿtŚĂƚ ŽƚŚĞƌŝŶĨŽƌŵĂƚŝŽŶŝŶƚŚĞƉŽĞŵƌĞǀĞĂůƐƚŚĞƐƚƌƵĐƚƵƌĞ͍ 'ůŽǁƐǁŽƌůĚͲǁŝĚĞǁĞůĐŽŵĞ͖ŚĞƌŵŝůĚĞǇĞƐ ĐŽŵŵĂŶĚ ĨƌŽŵƚŚĞŝƌ dŚĞĂŝƌͲďƌŝĚŐĞĚ ŚĂƌďŽƌ ƚŚĂƚƚǁŝŶĐŝƚŝĞƐĨƌĂŵĞ͘ ŶĂƚŝǀĞůĂŶĚ Η<ĞĞƉ͕ĂŶĐŝĞŶƚůĂŶĚƐ͕ǇŽƵƌ ƐƚŽƌŝĞĚƉŽŵƉ͊ΗĐƌŝĞƐƐŚĞ ĐĞůĞďƌĂƚĞĚ dĞĂĐŚĞƌƐƐŚŽƵůĚĚŝƌĞĐƚƐƚƵĚĞŶƚƐƚŽƉĂǇĂƚƚĞŶƚŝŽŶƚŽƚŚĞƉƵŶĐƚƵĂƚŝŽŶǁŝƚŚŝŶƚŚĞƉŽĞŵ͕ tŝƚŚƐŝůĞŶƚůŝƉƐ͘Η'ŝǀĞŵĞ ǇŽƵƌƚŝƌĞĚ͕ǇŽƵƌƉŽŽƌ͕ ŵĂŐŶŝĨŝĐĞŶĐĞ ǁŚŝĐŚ ƌĞǀĞĂůƐƐĞǀĞƌĂůĐƌƵĐŝĂůƐƚŽƉƉŝŶŐŽƌƚƌĂŶƐŝƚŝŽŶƉŽŝŶƚƐǁŝƚŚŝŶƚŚĞƐŽŶŶĞƚ͘dŚĞƌĞŝƐĂ zŽƵƌ ŚƵĚĚůĞĚ ŵĂƐƐĞƐǇĞĂƌŶŝŶŐƚŽďƌĞĂƚŚĞĨƌĞĞ͕ ƉĞƌŝŽĚƚŚĂƚĚŝǀŝĚĞƐůŝŶĞƐϴĂŶĚϵ͕ƌĞŝŶĨŽƌĐŝŶŐƚŚĞƌŚǇŵĞƐĐŚĞŵĞŶŽƚĞĚĞĂƌůŝĞƌ͕ĂƐǁĞůůĂƐĂ dŚĞ ǁƌĞƚĐŚĞĚ ƌĞĨƵƐĞ ŽĨǇŽƵƌ ƚĞĞŵŝŶŐ ƐŚŽƌĞ͘ ŐĂƌďĂŐĞ ƐĞŵŝͲĐŽůŽŶďĞƚǁĞĞŶůŝŶĞƐϮĂŶĚϯ͕ĚŝǀŝĚŝŶŐƚŚĞƌĞũĞĐƚŝŽŶŽĨƚŚĞŽƉĞŶŝŶŐŝŵĂŐĞ;͞EŽƚ͙͟Ϳ ǁŝƚŚĂƉŽƐŝƚŝǀĞƌĞƉůĂĐĞŵĞŶƚ;͞,ĞƌĞ͙͟Ϳ͘ ^ĞŶĚƚŚĞƐĞ͕ƚŚĞŚŽŵĞůĞƐƐ͕ ƚĞŵƉĞƐƚͲƚŽƐƚ ƚŽŵĞ͕ ǀŝŽůĞŶƚ /ůŝĨƚŵǇůĂŵƉďĞƐŝĚĞƚŚĞŐŽůĚĞŶĚŽŽƌ͊Η ǁŝŶĚƐƚŽƌŵ

ĞŶƚƌĂůŽŶĐĞƌŶηϮ ŝƌĞĐƚŝŽŶƐĨŽƌdĞĂĐŚĞƌƐͬ'ƵŝĚŝŶŐYƵĞƐƚŝŽŶƐ&Žƌ^ƚƵĚĞŶƚƐ tŚĂƚĐĂŶǁĞĚĞĚƵĐĞĂďŽƵƚƚŚĞƐƚĂƚƵĞƐŝŶƚŚĞƉŽĞŵ͍ ;YϯͿ dŚĞĨŝƌƐƚĞŝŐŚƚůŝŶĞƐŽĨƚŚĞƉŽĞŵ ĐŽŵƉĂƌĞƚǁŽƐƚĂƚƵĞƐ͘tŚĂƚůŝŶĞƐĂƌĞĂďŽƵƚƚŚĞĨŝƌƐƚ ƐƚĂƚƵĞ ĂŶĚǁŚĂƚůŝŶĞƐƚŚĞƐĞĐŽŶĚ͍tŚĂƚĐŽŵƉĂƌŝƐŽŶƐĂƌĞŵĂĚĞ͍ dŚĞƉŽĞŵĞůůŝƉƚŝĐĂůůǇŽĨĨĞƌƐĂĚĞƐĐƌŝƉƚŝŽŶŽĨďŽƚŚƐƚĂƚƵĞƐďǇ ǁĂǇ ŽĨĐŽŶƚƌĂƐƚŝŶŐƚŚĞŵĂŐĂŝŶƐƚŽŶĞĂŶŽƚŚĞƌ͕ǁŚŝůĞ>ĂǌĂƌƵƐ dŚĞĨŝƌƐƚƚǁŽůŝŶĞƐĂƌĞĂďŽƵƚŽŶĞƐƚĂƚƵĞĂŶĚƚŚĞŶĞǆƚƐŝǆĂƌĞĂďŽƵƚƚŚĞƐĞĐŽŶĚ͘^ƚƵĚĞŶƚƐ ŝŶĐůƵĚĞƐĂĚĚŝƚŝŽŶĂůŝŶĨŽƌŵĂƚŝŽŶƌĞŐĂƌĚŝŶŐŬĞǇĐŚĂƌĂĐƚĞƌŝƐƚŝĐƐ ƐŚŽƵůĚďĞĂďůĞƚŽĐŽŶƚƌĂƐƚ;͞EŽƚůŝŬĞ͟ͿƚŚĞ͞ďƌĂǌĞŶ͟ƋƵĂůŝƚŝĞƐŽĨƚŚĞĨŝƌƐƚƐƚĂƚƵĞǁŝƚŚƚŚĞ ĂďŽƵƚƚŚĞĨŽĐĂůƐĞĐŽŶĚƐƚĂƚƵĞ͘ ͞ŵŝůĚ͟ĨĞĂƚƵƌĞŽĨƚŚĞƐĞĐŽŶĚ ;ƚŚŽƵŐŚŝƚŝƐĂůƐŽ͞ŵŝŐŚƚǇ͟Ϳ͖ƚŚĞĨŝƌƐƚƐƚĂƚƵĞŝƐ'ƌĞĞŬ͕ǁŚĞƌĞĂƐ ƚŚĞƐĞĐŽŶĚ ĐĂŶďĞŝŶĨĞƌƌĞĚƚŽďĞŝŶŵĞƌŝĐĂ;͞,ĞƌĞĂƚŽƵƌ͟Ϳ͖ƚŚĞĨŝƌƐƚƐƚĂƚƵĞŝƐ dĞǆƚhŶĚĞƌŝƐĐƵƐƐŝŽŶ ͞ĐŽŶƋƵĞƌŝŶŐ͟ ǁŚĞƌĞĂƐƚŚĞƐĞĐŽŶĚŽĨĨĞƌƐĂ͞ǁŽƌůĚͲǁŝĚĞ ǁĞůĐŽŵĞ͖͟ĂŶĚůĂƐƚůǇƚŚĞĨŝƌƐƚ ƐƚĂƚƵĞŝƐĨĂŵŽƵƐǁŚĞƌĞĂƐƚŚĞƐĞĐŽŶĚŚĂƐǇĞƚƚŽďĞĞƌĞĐƚĞĚĂƚƚŚĞƚŝŵĞƚŚĞƉŽĞŵǁĂƐ EŽƚůŝŬĞƚŚĞ ďƌĂǌĞŶ ŐŝĂŶƚŽĨ'ƌĞĞŬĨĂŵĞ͕ ƐŚĂŵĞůĞƐƐ ǁƌŝƚƚĞŶ;͞ƐŚĂůůƐƚĂŶĚ͟Ϳ͘ŽƚŚƐƚĂƚƵĞƐ͕ŚŽǁĞǀĞƌ͕ĐŽŶŶĞĐƚŝŶƐŽŵĞĨĂƐŚŝŽŶƚǁŽƉůĂĐĞƐͶ tŝƚŚĐŽŶƋƵĞƌŝŶŐůŝŵďƐ ĂƐƚƌŝĚĞ ĨƌŽŵůĂŶĚƚŽůĂŶĚ͖ ͞ĂƐƚƌŝĚĞĨƌŽŵůĂŶĚƚŽůĂŶĚ͟ŝŶƚŚĞĐĂƐĞŽĨƚŚĞĨŝƌƐƚƐƚĂƚƵĞ͕ĂŶĚ͞ƚǁŝŶĐŝƚŝĞƐĨƌĂŵĞ͟ƚŚĞ ,ĞƌĞĂƚŽƵƌ ƐĞĂͲǁĂƐŚĞĚ͕ƐƵŶƐĞƚŐĂƚĞƐƐŚĂůůƐƚĂŶĚ ŚĂƌďŽƌƚŚĂƚƚŚĞƐĞĐŽŶĚƐƚĂƚƵĞƐĞĞƐǁŝƚŚŚĞƌ͞ĞǇĞƐ͘͟ ŵŝŐŚƚǇǁŽŵĂŶǁŝƚŚĂƚŽƌĐŚ͕ǁŚŽƐĞĨůĂŵĞ /ƐƚŚĞ ŝŵƉƌŝƐŽŶĞĚ ůŝŐŚƚŶŝŶŐ͕ĂŶĚŚĞƌŶĂŵĞ ^ŝĚĞďĂƌ͗ dŚĞŽůŽƐƐƵƐŽĨZŚŽĚĞƐ DŽƚŚĞƌŽĨ ǆŝůĞƐ͘&ƌŽŵŚĞƌ ďĞĂĐŽŶͲŚĂŶĚ ƉĞƌƐŽŶƐ ďĂŶŝƐŚĞĚ dĞĂĐŚĞƌƐĐĂŶĂƚƚŚĞŝƌ ĚŝƐĐƌĞƚŝŽŶ ĚĞĐŝĚĞǁŚĞƚŚĞƌŽƌŶŽƚƚŽƌĞǀĞĂůƚŚĞĂůůƵƐŝŽŶ>ĂǌĂƌƵƐ 'ůŽǁƐǁŽƌůĚͲǁŝĚĞǁĞůĐŽŵĞ͖ŚĞƌŵŝůĚĞǇĞƐ ĐŽŵŵĂŶĚ ĨƌŽŵƚŚĞŝƌ dŚĞĂŝƌͲďƌŝĚŐĞĚ ŚĂƌďŽƌ ƚŚĂƚƚǁŝŶĐŝƚŝĞƐĨƌĂŵĞ͘ ŶĂƚŝǀĞůĂŶĚ ŵĂŬĞƐƚŽƚŚĞŽůŽƐƐƵƐŽĨZŚŽĚĞƐ;͞ďƌĂǌĞŶŐŝĂŶƚŽĨ'ƌĞĞŬĨĂŵĞ͟ͿĂŶĚĞǀĞŶƐŚŽǁƐƚƵĚĞŶƚƐ ĂĂƌƚŝƐƚƐ͛ƌĞĐŽŶƐƚƌƵĐƚŝŽŶŽĨƚŚĞƐƚĂƚƵĞ;ƉƉĞŶĚŝǆͿ͘

;YϰͿ tŚĂƚĐĂŶǁĞĚĞĚƵĐĞĂďŽƵƚƚŚĞůŽĐĂƚŝŽŶŽĨƚŚĞƐĞĐŽŶĚƐƚĂƚƵĞ͍ tŚĂƚŽƚŚĞƌ ĐŚĂƌĂĐƚĞƌŝƐƚŝĐƐŽĨƚŚĞƐĞĐŽŶĚƐƚĂƚƵĞĂƌĞƌĞǀĞĂůĞĚŝŶƚŚĞŽƉĞŶŝŶŐϴůŝŶĞƐ͍

>ĂǌĂƌƵƐŐŝǀĞƐƐĞǀĞƌĂůĐůƵĞƐĂƐƚŽƚŚĞůŽĐĂƚŝŽŶŽĨƚŚĞƐƚĂƚƵĞ͕ĨƌŽŵƚŚĞƚŚŝƌĚůŝŶĞͶ͞,ĞƌĞĂƚ ŽƵƌƐĞĂͲǁĂƐŚĞĚ͕ƐƵŶƐĞƚŐĂƚĞƐƐŚĂůůƐƚĂŶĚ͟ͶĚĞƐĐƌŝďŝŶŐƚŚĞƐƚĂƚƵĞĂƐŽǀĞƌůŽŽŬŝŶŐƚŚĞ ŽĐĞĂŶͶƚŽŵĞŶƚŝŽŶŽĨƚŚĞ ĞǇĞƐŽĨƚŚĞ ƐƚĂƚƵĞĂƐ ͞ĐŽŵŵĂŶĚ΀ŝŶŐ΁ͬdŚĞĂŝƌͲďƌŝĚŐĞĚŚĂƌďŽƌ͘͟ ^ŚĞĂůƐŽƌĞǀĞĂůƐƚŚĂƚƚŚĞƐƚĂƚƵĞŝƐƚŚĞĨŝŐƵƌĞŽĨĂǁŽŵĂŶ͞ǁŝƚŚĂƚŽƌĐŚ͟ ĂŶĚƚŚĂƚƚŚĞƐƚĂƚƵĞ ŝƐƐĞĞŶĂƐ Ă͞DŽƚŚĞƌ͟ƚŽĞǆŝůĞƐͶĂŶŝŵĂŐĞƚŚĂƚŝƐĐŽŶƐŝƐƚĞŶƚǁŝƚŚƚŚĞĚĞƐĐƌŝƉƚŝŽŶŽĨƚŚĞ ƐƚĂƚƵĞ͛ƐƚŽƌĐŚĂƐŽĨĨĞƌŝŶŐĂ͞ǁŽƌůĚͲǁŝĚĞǁĞůĐŽŵĞ͘͟

ĞŶƚƌĂůŽŶĐĞƌŶηϯ ŝƌĞĐƚŝŽŶƐĨŽƌdĞĂĐŚĞƌƐͬ'ƵŝĚŝŶŐYƵĞƐƚŝŽŶƐ&Žƌ^ƚƵĚĞŶƚƐ tŚĂƚŝƐƚŚĞŵĞĂŶŝŶŐŽĨƚŚĞƐƚĂƚƵĞ͛ƐƐƉĞĞĐŚ͍ ^ƚƵĚĞŶƚƐƚƌĂŶƐůĂƚĞƚŚĞǁŽƌĚƐŽĨƚŚĞ ƐĞĐŽŶĚ ƐƚĂƚƵĞŝŶƚŽƚŚĞŝƌŽǁŶ͘

dŚĞĨŝŶĂůĐĞŶƚƌĂůĐŽŶĐĞƌŶĨŽĐƵƐĞƐŽŶƐƚƵĚĞŶƚƐƵŶƉĂĐŬŝŶŐƚŚĞ dŚŝƐĂĐƚŝǀŝƚǇĐŚĂůůĞŶŐĞƐƐƚƵĚĞŶƚƐƚŽĂƚƚĞŵƉƚƚŽƵŶĚĞƌƐƚĂŶĚŽŶƚŚĞŝƌŽǁŶ ƚŚĞŝŵĂŐŝŶĞĚ ŵĞĂŶŝŶŐŽĨƚŚĞ ƐƉĞĞĐŚƚŚĞƐƚĂƚƵĞŵĂŬĞƐ͕ƌĞǀĞĂůŝŶŐďŽƚŚĂ ƐƉĞĞĐŚƚŚĞƐƚĂƚƵĞĚĞůŝǀĞƌƐ͘dŚĞĂŝŵŚĞƌĞĨŽƌƐƚƵĚĞŶƚƐŝƐŶŽƚƚŽƐƵŵŵĂƌŝǌĞ͕ďƵƚƚŽ ĐƌŝƚŝƋƵĞŽĨĂŶƚŝƋƵŝƚǇĂŶĚĂƉůĞĂĨŽƌŝŵŵŝŐƌĂŶƚƐƚŽĐŽŵĞƚŽ ƉĂƌĂƉŚƌĂƐĞ͘^ƚƵĚĞŶƚƐƐŚŽƵůĚ ǁƌŝƚĞŶŽŵŽƌĞƚŚĂŶƚǁŽƐĞŶƚĞŶĐĞƐ͕ĂŶĚƐĞĞŬƚŽĐĂƉƚƵƌĞĂůů ŵĞƌŝĐĂ͘ ƚŚĞŝŶĨŽƌŵĂƚŝŽŶŝŶĐůƵĚĞĚŝŶƚŚĞƐŝǆůŝŶĞƐŽĨƉŽĞƚƌǇŝŶƚŚĞŝƌƚǁŽƐĞŶƚĞŶĐĞƐ͘

;YϱͿ tŚĂƚ ĚŽĞƐ>ĂǌĂƌƵƐŵĞĂŶǁŚĞŶƐŚĞŚĂƐƚŚĞ ƐĞĐŽŶĚ ƐƚĂƚƵĞĐƌǇŽƵƚ͞<ĞĞƉ͕ĂŶĐŝĞŶƚůĂŶĚƐ͕ dĞǆƚhŶĚĞƌŝƐĐƵƐƐŝŽŶ ǇŽƵƌƐƚŽƌŝĞĚƉŽŵƉ͊͟ Η<ĞĞƉ͕ĂŶĐŝĞŶƚůĂŶĚƐ͕ǇŽƵƌ ƐƚŽƌŝĞĚƉŽŵƉ͊Η ĐƌŝĞƐƐŚĞ ĐĞůĞďƌĂƚĞĚ tŝƚŚƐŝůĞŶƚůŝƉƐ͘Η'ŝǀĞŵĞǇŽƵƌƚŝƌĞĚ͕ǇŽƵƌƉŽŽƌ͕ ŵĂŐŶŝĨŝĐĞŶĐĞ >ĂǌĂƌƵƐŝƐƌĞǀĞĂůŝŶŐƚŚĂƚƚŚĞ ƐĞĐŽŶĚ ƐƚĂƚƵĞŚĂƐĂŶĞŐĂƚŝǀĞŝŵƉƌĞƐƐŝŽŶŽĨĂŶƚŝƋƵŝƚǇĚƵĞŝŶ zŽƵƌ ŚƵĚĚůĞĚ ŵĂƐƐĞƐǇĞĂƌŶŝŶŐƚŽďƌĞĂƚŚĞĨƌĞĞ͕ ƉĂƌƚƚŽƚŚĞŝƌĐĞůĞďƌĂƚĞĚŵĂũĞƐƚǇĂŶĚ;ďǇŝŶĨĞƌĞŶĐĞͿƚŚĞĐƌŝƚŝĐĂůĐŚĂƌĂĐƚĞƌŝǌĂƚŝŽŶĞǆƉůŽƌĞĚŝŶ dŚĞ ǁƌĞƚĐŚĞĚ ƌĞĨƵƐĞ ŽĨǇŽƵƌ ƚĞĞŵŝŶŐ ƐŚŽƌĞ͘ ŐĂƌďĂŐĞ ƚŚĞĂŶĂůǇƐŝƐŽĨƚŚĞĨŝƌƐƚƐƚĂƚƵĞĨƌŽŵ'ƌĞĞĐĞ͘ ^ĞŶĚƚŚĞƐĞ͕ƚŚĞŚŽŵĞůĞƐƐ͕ ƚĞŵƉĞƐƚͲƚŽƐƚ ƚŽŵĞ͕ ǀŝŽůĞŶƚ /ůŝĨƚŵǇůĂŵƉďĞƐŝĚĞƚŚĞŐŽůĚĞŶĚŽŽƌ͊Η ǁŝŶĚƐƚŽƌŵ ;YϲͿ tŚŽĚŽĞƐƚŚĞƐĞĐŽŶĚƐƚĂƚƵĞǁĞůĐŽŵĞƚŽƚŚĞƐŚŽƌĞƐŽĨŵĞƌŝĐĂ͍,ŽǁŝƐƚŚĞůĂŶĚŽĨƚŚĞ ƐĞĐŽŶĚƐƚĂƚƵĞĐŚĂƌĂĐƚĞƌŝǌĞĚ͍

^ƚƵĚĞŶƚƐƐŚŽƵůĚďĞĂďůĞƚŽŝĚĞŶƚŝĨǇƚŚĂƚƚŚĞƚŝƌĞĚ͕ƉŽŽƌ͕ĂŶĚŚŽŵĞůĞƐƐŵĂƐƐĞƐŽĨƚŚĞƉŽĞŵ ĂƌĞŝŵŵŝŐƌĂŶƚƐƚŽŵĞƌŝĐĂ͘dŚĞƐĞŝŶĚŝǀŝĚƵĂůƐĂƌĞƐĞĞŶŝŶƚŚĞŝƌŶĂƚŝǀĞĐŽƵŶƚƌŝĞƐĂƐ ͞ǁƌĞƚĐŚĞĚƌĞĨƵƐĞ͟ǁŚŽŚĂǀĞƚƌĂǀĞůĞĚƚŚƌŽƵŐŚƐƚŽƌŵƐƚŽƌĞĂĐŚƚŚĞhŶŝƚĞĚ^ƚĂƚĞƐ͘ŵĞƌŝĐĂ ŝƐĐŚĂƌĂĐƚĞƌŝǌĞĚĂƐĂ͞ŐŽůĚĞŶĚŽŽƌ͟ƚŚƌŽƵŐŚǁŚŝĐŚƚŚĞǇǁŝůůƉĂƐƐŽŶƚŚĞŝƌǁĂǇƚŽĨƵůĨŝůůƚŚĞŝƌ ͞ǇĞĂƌŶŝŶŐ͟ĚĞƐŝƌĞ͞ƚŽďƌĞĂƚŚĞĨƌĞĞ͘͟

^ƚƵĚĞŶƚƐƌĞǁƌŝƚĞƚŚĞŝƌƚƌĂŶƐůĂƚŝŽŶŽĨ ƚŚĞƐƉĞĞĐŚŽĨƚŚĞ ƐĞĐŽŶĚ ƐƚĂƚƵĞ͘

ĂƐĞĚŽŶǁŚĂƚƚŚĞǇŚĂǀĞůĞĂƌŶĞĚ͕ƐƚƵĚĞŶƚƐ ƌĞǁƌŝƚĞƚŚĞŝƌƚƌĂŶƐůĂƚŝŽŶŽĨƚŚĞĨŝƌƐƚůŝŶĞ͘

^ŝĚĞďĂƌ͗ dŚĞ^ƚĂƚƵĞŽĨ>ŝďĞƌƚǇ

dĞĂĐŚĞƌƐĐĂŶĂƚƚŚĞŝƌĚŝƐĐƌĞƚŝŽŶĚĞĐŝĚĞǁŚĞƚŚĞƌŽƌŶŽƚ;ĂͿƚŽĂƐŬƐƚƵĚĞŶƚƐŝĨƚŚĞǇŚĂǀĞ ĨŝŐƵƌĞĚŽƵƚƚŚĂƚƚŚĞƉŽĞŵĚĞƐĐƌŝďĞƐƚŚĞ^ƚĂƚƵĞŽĨ>ŝďĞƌƚǇĂŶĚ;ďͿƚŽƐŚŽǁƐƚƵĚĞŶƚƐĂŶ ŝŵĂŐĞ ŽĨƚŚĞ^ƚĂƚƵĞŽĨ>ŝďĞƌƚǇ;ƉƉĞŶĚŝǆͿŽƌĂŐƌĂƉŚŝĐƵŶƉĂĐŬŝŶŐƐŽŵĞŽĨƚŚĞƵŶŝƋƵĞ ƋƵĂŶƚŝƚĂƚŝǀĞ ĨĞĂƚƵƌĞƐŽĨƚŚĞƐĐƵůƉƚƵƌĞ ;ǀĞƌƐƵƐƚŚĞƋƵĂůŝƚĂƚŝǀĞŽŶĞƐĞǆƉůŽƌĞĚŝŶƚŚĞƉŽĞŵͿ ;ƉƉĞŶĚŝǆͿ͘

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Close Reading Strategy Tool Kit

Defined: A close reading is a 2nd or 3rd reading of the text. It is an intensive analysis of a text in order to come to terms with what it says, how it says it, and what it means. It is the process one goes through to find make meaning of the text to understand a big idea or answer an essential question. Furthermore, looking closely at text will lead to stronger writing and an ability to communicate their newly found ideas, knowledge, or opinions. The determination of what type of close read depends on student need or what the text best reveals.

Basic statements or questions of a close read includes: ∙ Let’s look closer at this section of the text. / Let’s investigate this part further. / ∙ According to the text, ___/ Let’s use evidence from the text to .. / ∙ Let’s see how the author… / Because we want learn how to write like the author __ ∙ We need to look at this part of the text again in order to ____ Purpose of Close Reading Suggested Key Terms, Phrases or Questions Visual Tools or Strategies Materials Rich or Academic ∙Key Words ∙ What words are unfamiliar? Let’s try to Use of highlighter Language ∙Shades of Meaning figure these words out. (figurative, tier 2 ∙ Text Talk (Beck) ∙ Give a student friendly definition Thesaurus vocabulary) Wrecking the Text during text talk (understanding words in ∙ Using context clues context) ∙ Think alouds about ∙ What text around this word helps you how you determine understand its meaning? meaning. Linguistically ∙Deconstruction of ∙ Why might this text be confusing? Let’s Use of highlighter Complex Text take it apart to understand it. Language ∙Specific use of ∙ How did the author show you the (register, lack of background language in content person was a specific area/region? knowledge, ∙ Author’s purpose ∙ Let’s read this text from the cultural knowledge, multiple ∙ rewriting text for perspective of ___. Linguistic patterns. levels of meaning, or meaning better understanding. ∙ Let’s talk about what this sentence is ambiguous) might mean in the context of the paragraph/story. Plot Highlights ∙ text depend. ques. ∙ What happened right here? Why is this important to the story? ∙ Character motivation ∙ Why did ____ do this? How does this change ____? ∙ plot terms defined ∙ What is the significance of this part of & understood the story? What is its purpose? through context ∙ How does this part determine _____? ∙ Why would you label this section the ____ (setting, rising/falling action, turn- ing point, climax, conflict, foreshadow- ing, resolution, etc.) of the plot? ∙ Where does this section of the story “fit in” with the plot?

HTross, SAUSD, 2012 * Sections of this template use strategies & terms from the Lapp, Johnson Text Complexity Rubric Strategy Tool Key for Close Reading

Purpose of Close Reading Suggested Key Terms, Phrases or Questions Visual Tools or Strategies Materials Text Features or ∙ Preview/Review ∙ Preview: What might this text be about? ∙ post-its to cover ∙ Look at the author’s ∙ Review: How does this information add text—revealing only Illustrations pulled quotes. to your understanding about ____? the text features for ∙ Why did the author use a (graph, table, prediction of what diagram, etc) _____ in this section of the text is about. text? ∙ What is the purpose of this (text feature)? ∙ What does this (text feature) tell you or help you better understand? ∙ How does this illustration ____ (determine the mood, the author’s intent, an idea about ___)? ∙ Why did the illustrator depict ___ like ___? Big Idea or ∙ Text dependent ∙ How does this help answer _____? questions & making How can you relate this to ____? Theme Revealed connections/ What more have you learned about ___ reflections based on after reading ___ text evidence

“6 facets of understanding” questions: ∙ Questioning with 6 ∙ E: What is meant by ___? ∙ facets of understand- ∙ A: How does ___ apply to ___? ing: explanations, ∙ P: How does ___ look from ___ POV? applications, ∙ I: What does the __ say/reveal about _? perspectives, ∙ EM: How might it feel if ____ interpretation, ∙ SK: What do you believe ____ ? empathy, self-knowledge Demanding ∙ Content Specific ∙Who, did what, to whom? ∙ post-its for pulled Text Deconstruction ∙ Referrers, nominalizations, etc. quotes or key words Content (what the text is doing)

(complex ideas or how it is ∙ What key terms or words do you need to ∙ Sentence patterns written –content specific, ∙ Key Words know? to deconstruct text unusual narration, dense

text with many tier 3 words- academic vocabulary, etc) ∙ Pulled Quotes ∙ Which words help you better understand the author’s intent?

Tross, SAUSD, 2012 * Sections of this template use strategies & terms from the Lapp, Johnson Text Complexity Rubric Purpose of Close Reading Suggested Key Terms, Phrases or Questions Visual Tools or Strategies Materials Character ∙ Analyze character’s ∙ What did the character: do, say, think, words, action, what others thought or did with ____? Analysis or thoughts to reveal What does this evidence tell you about Motivation traits or emotions the character? ∙ Inferential From this evidence, what can you infer questioning about the about the character? character using evi- What is the character’s motivation and dence from text why? Find evidence in the text.

Author’s Craft: ∙ Questioning Perspective/s : From whose perspective ∙ WFTB planners for (Writing techniques author’s intent is the author speaking? Why did he reverse mapping choose to do this here? that deal with the au- ∙ Wrecking the Text Mood: What is the mood in this section thor’s perspectives, of the story? How can you tell? What mood, tone, word ∙ Reverse mapping as did the author do to create this mood? choice, syntax, in WFTB How do the illustrations add to this purpose, etc.) mood? ∙ “Owl Moon” Tone: What do you notice about the tone Lesson in the writing of this text? How is it different than __? binder (4-5) Why did the author choose to use __? ∙ Other reverse map- Word Choice: What do you notice about ping lessons in 2nd the word/s in this section of the text? and 3rd How are they alike/different? Why did the author use these type of words? How does this add to the reading of the text

How can you use these techniques in your own writing?

Text Organization ∙ Chunking the text: ∙ How is this part/section of the story Thinking maps are Author’s purpose of organized? How is it different from __? determined by the or Structure different sections of structure of the text, (Genre bends or changes the text/story ∙ How does the story’s organization or bend in the genre) in literature’s structure. change (distorted time or sequence, flash Structure of text is ∙ Extracting Text into back, shifting perspectives, purpose, through a skill: cause/ a Thinking Map etc.)? effect, compare/contrast in science & historical text)

Tross, SAUSD, 2012 * Sections of this template use strategies & terms from the Lapp, Johnson Text Complexity Rubric

Boost Intelligence by Focusing on Growth Why some people learn more from their mistakes

By Melinda Wenner Moyer

Is intelligence innate, or can you boost it with effort? The way you answer that question may determine how well you learn. Those who think smarts are malleable are more likely to bounce back from their mistakes and make fewer errors in the future, according to a study published last October in Psychological Science.

Researchers at Michigan State University asked 25 undergraduate students to participate in a simple, repetitive computer task: they had to press a button whenever the letters that appeared on the screen conformed to a particular pattern. When they made a mistake, which happened about 9 percent of the time, the subjects realized it almost immediately—at which point their brain produced two tiny electrical responses that the researchers recorded using electrodes. The first reaction indicates awareness that a mistake was made, whereas the second, called error positivity, is believed to represent the desire to fix that slipup. Later, the researchers asked the students whether they believed intelligence was fixed or could be learned.

Although everyone slowed down after erring, those who were “growth-minded”—that is, people who considered intelligence to be pliable—elicited stronger error-positivity responses than the other subjects. They subsequently made fewer mistakes, too. “Everybody says, ‘Oh, I did something wrong, I should slow down,’ but it was only the growth-minded individuals who actually did something with that information and made it better,” explains lead author Jason Moser, a clinical psychologist at Michigan State.

People who are not so inclined, however, can change their approach, Moser adds. “A growth mind-set is about focusing on the process—as in the experience—rather than only on the outcome,” he says. “Setbacks are opportunities to gain information and learn for the next time, so pay attention to what went wrong and get the information you need to improve.”

Source: Wenner Moyer, Melinda. "The Oops! Response." Scientific American, March/April 2012 http://www.scientificamerican.com/article.cfm?id=the-oops-response

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS

Jackie Robinson and the Integration of Baseball By Scott Simon

Overview

The first African American major league ballplayer of the twentieth century was a hard-nosed, high-spirited athlete who became one of the most admired personalities in the country. Jackie Robinson personified courage from the minute he stepped into the major leagues, adorned proudly in his Dodger blue. Nevertheless, he was a man who bore a daily, bloody trial of vicious attacks, race-baiting taunts, and death threats, risking both his safety and his sanity in order to simply play the game. The strain would end his life far too soon -- but he gave his life for something great, as all heroes do. In Jackie Robinson and the Integration of Baseball, renowned broadcaster Scott Simon brings his passion for baseball and civil rights to this crucial moment in history. He deftly captures the drama of Robinson's first year in baseball, tracing his journey from rookie to Rookie of the Year, the award that now bears Robinson's name. At the close of World War II, no nation was freer or stronger than the United States -- and yet few major nations so openly subjugated so many of their own citizens. Simon recounts how Robinson struggled with racism both in the army and on the baseball diamond, finally landing a place in the Negro Leagues as a shortstop. Just at the time when the country was beginning to question the morality of racial segregation, Robinson was battling bigotry every step of the way -- from his entry into the minor leagues; to Opening Day, April 15, 1947, when he helped the Brooklyn Dodgers win; to his first World Series. But for the man who "just wanted to be treated like any other player," the goal of integrating the major leagues was worth every moment of agony and anguish. Simon reveals how Robinson's skills and daring turned adversaries into admirers. For every piece of hate mail, for every epithet called across the field, there were prayers, greeting cards, and letters of encouragement from Southerners and Brooklynites, rabbis and ministers. And thanks to that seminal year, Robinson paved the way for scores of black players to finally join organized baseball. This important story of a man of remarkable conviction is by turns inspiring, emotional, and uplifting. Excerpt: “…But even by this wiser standard, Jackie Robinson was a hero. The baseball diamond is not simply a playing field in his story. It was the ground on which he was most open and vulnerable to taunts, threats, and sharpened spikes. The first African American major league ballplayer of the twentieth century routinely took his rolling, pigeon- toed stride out into the infield or batter's box on days and nights when local police had culled the stadium's mail to show him an assortment of explicit and persuasive death threats. It is tempting today, when Jackie Robinson is enshrined in halls of fame, social studies curricula, classroom calendars, songs, and statues, to suppose those threats were empty. But in the late 1940s, beatings, bombings, lynchings, and shootings scarred the landscape of the United States. They could be just as public as… baseball games. Jackie Robinson gave his life for something great; heroes do. He chose to bear the daily, bloody trial of standing up to bean balls and cleats launched into his shins, chest, and chin, and the race-baiting taunts raining down from the stands, along with trash, tomatoes, rocks, watermelon slices, and Sambo dolls. And then he performed with eloquent achievement and superlative poise. Robinson allowed that hatred to strike him as it would a lightning rod, channeling it down into the rugged earth of himself. All that America saw for many years on the baseball field was that iron as upright as a steeple, never bending. But inside, the strain slowed his body, whitened his hair, thickened his circulation, aggravated his diabetes, and rendered him slow and blind. He was dead by the age of fifty-three—a martyr (a word as deliberately applied as hero) to trying to make America live up to its creed.

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS If Jackie Robinson had not been selected to play the role he performed so well, no doubt other superb African American athletes would have soon stepped onto the stage. The skills of Larry Doby, Roy Campanella, Sam Jethroe, Ray Dandridge, Willie Mays, Monte Irvin, Ernie Banks, and an aging Satchel Paige were too great not to tempt major league clubs who were searching for new sources of talent. World War II had moved many Americans to examine their nation's own self-image as a bulwark of freedom. Editorial writers and civic leaders were already clamoring for America to integrate the armed forces, which had just won the world's liberty, the schools, in which children learned about justice, and sports, which purported to epitomize American values. How could a young black man who might be called up to risk his life backing up Pee Wee Reese in Guam, or Yogi Berra in Normandy, not be allowed to earn a living alongside them on the same playing field? America's modern civil rights revolution was already stirring by the time Jackie Robinson arrived in major league baseball. With Vernon Johns, Thurgood Marshall, A. Philip Randolph, and many more, it had already produced heroes. But Robinson's courage and accomplishment put a familiar face on the kind of bravery that it took for blacks to stand up for their rights. His heroism was no greater than that of millions of others—some achievements simply cannot fit into box scores. But Robinson's renown gave his heroism reach. It is possible to see, in Robinson's slow, purposeful walk into the face of taunts and threats, some of the same unbowed courage that Americans would later admire in the civil rights marchers who faced down stinging water sprays, sharp rocks, and snapping police dogs. When Robinson joined Dr. Martin Luther King's nonviolent campaign in Birmingham in 1963, marchers called out, “Show us, Jackie!” Jackie Robinson is so highly esteemed for his Gandhian restraint against the onslaughts of bigotry that it is easy to mistake him for a social activist. He certainly became a militant campaigner for civil rights, an outspoken newspaper columnist, and a combative Republican when that party was more identified among blacks with Lincoln, La Guardia, Rockefeller, and Lindsay, while the Democrats were dishonored by Strom Thurmond, Orville Faubus, and George Wallace. But first and last, Jackie Robinson was a hard-nosed… fire-breathing athlete. The Jackie Robinson that his old Pasadena and UCLA teammates remembered could be a petulant star. He mocked lesser competitors and came to expect that his regal status on fields of play would excuse him from the need to attend class or complete assignments; and so it did. When, on a couple of occasions, Robinson's high spirits and dark skin brought him into the grasp of the Pasadena police, his case was considered with compassion by a local judge, who was loath to deliver a penalty that would cause the accused to miss next Saturday's game. Few other young black men in Southern California could rally so effective a defense as Robinson's in rushing yards, passes caught, and punts returned… Among a group of gifted professionals who had to endure all-night rides on bone-clattering buses and blocked doors at whites-only diners and motels, Jackie Robinson was remembered more for griping about the league's showboating and lack of training and discipline. He let his teammates know that he considered the league beneath his talents (and maybe it was—for all of them). The Jackie Robinson who stayed on to become a perennial major league star after he became a hero could be prickly… Even after he had become one of the most admired personalities in America, Robinson could spring up and cry racism at umpires with the impudence to call him out on a close slide or a strike. He could crash into an opponent's knees on inconsequential plays, just to let them know he could hurt them. He harangued opposing players, and sometimes his own teammates, with graphic epithets of the kind that would have once been considered legal provocation for a duel (although the epithets were never racial and rarely sexual—Jackie Robinson was no racist, and he was even a bit of a prude). But Jackie Robinson was no less a hero for being a full-blooded human being. When he was summoned by history, he risked his safety and sanity to give history the last full measure of his strength, nerve, and perseverance. In the end, real heroes give us stories we use to reinforce our own lives…” Source: http://www.questia.com/read/106254881/jackie-robinson-and-the-integration-of-baseball

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS

Name Period Date

Central Idea/Evidence

R.6.2 Determine a central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments.

Title of Reading: “Jackie Robinson and the Integration of Baseball” Thesis/Central Idea: What qualities did Jackie Robinson have as he paved the way for scores of black players to finally join organized baseball? Specific Phrase or Statement How it Supports the Central Idea 1.

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS

Name: ______Period: ______Date:______Cause and Effect

Effect Effect

Cause

Effect Effect

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS As you read this article, consider using highlighters to mark the outcomes associated with “luck” in one color and those associated with “perseverance” in another.

Luck vs. Perseverance Posted on March 23, 2013 by Tyler H. Jolley

My road to writing started in college after I saw an interview with Nicholas Sparks on Oprah. Yes, I watched Oprah when I was in college…well my wife Jeena watched it and I happened to be in the room. Nicholas was talking about how he was able to pay off his student loans from pharmacy school by writing. At the time I was in dental school so the student loans were enormous. I have always been a sci-fi nerd and loved all things Star Wars. I even had a full size Han Solo cardboard cutout in my bedroom. Frustrated with some of my professors I decided to write a sci-fi novel about an intergalactic foreign exchange student and mirror the teachers after a few problematic professors. I quickly realized I loved writing and it helped me relax and take a break from the intense curriculum. Since I was in school I was left with little time to sleep, let alone write and it took me a few years to write my first book, but I persevered. By the time I had finished the book I was done with school, had three kids, and opened two offices in Colorado. It was time to find a publisher and it turned out finding a publisher was the hardest thing I’d ever done. I just kept getting doors slammed in my face. I even read, “How to get Your Book Published for Dummies.” Finally, after two years I found Double Dragon Publishing and they accepted my book. Nothing seemed to come easy when it came to my first book Neto Lexan and the Impox Secret, but I accomplished my goal and I was a bona fide, published author. Then luck came upon me. As I was trying to navigate getting my book published I was introduced to a local author, Sherry D. Ficklin. She pointed me the right direction and gave me pointers with editing my book, her help was invaluable. Then one day she approached me about a book she wanted to write. She was having a hard time nailing the teenage male character. At first I thought she just wanted some input. Being a perpetual kid, and with my patient base being mostly kids, I was the perfect go-to person. Then I realized she actually wanted me to co-author the book. Right place, right time…and my Peter Pan Syndrome* was finally paying off. We had not one but two publishing companies trying to publish our book. No doors were being slammed in our faces. It was such a different experience from my first book. So the question luck versus perseverance, in my case, I think is a marriage of both. Everyone has a unique story, but my experience has been this: Those who persevere will find luck.

*The 'Peter Pan Syndrome' affects people who do not want to or feel unable to grow up; people with the body of an adult but the mind of a child.

Source: http://scene13ers.wordpress.com/2013/03/23/luck-vs-perseverance/

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS

Formative Assessment

W.6.1: Write arguments to support claims with clear reasons and relevant evidence.

Directions:

Some people believe luck or good fortune can be created by being innovative and seizing opportunities. Others think luck is pure chance. Based on what students have read in Dragonwings and additional selections*, have them write a brief argument that supports their position on the following question: Is “luck” merely chance, or do persistence and opportunity play a role?

An Exit Slip is provided for you to use for this assignment. This short checking for understanding could be done more than once within this module. Student writing provides data on student progress and informs next steps for instruction.

*Text connections for luck vs. perseverance:

“Breaker’s Bridge”: Breaker says he’s lucky; that’s why he has been able to build successful bridges, “but there’s always a first time when you can’t do something.” “Drive-in Movies”: Soto and his siblings make their own luck by washing the car so their mom will take them to the movies. “A Backwoods Boy”: Abraham Lincoln - luck is when preparation meets opportunity “Jackie Robinson”: Luck is the result of destiny.

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS Name: ______Period: ______DATE: ______

FORMATIVE ASSESSMENT Exit SlipS

Prompt: Is “luck” merely chance, or do persistence and opportunity play a role?

Prompt: ______

N: ELA-Secondary/ Gr. 6_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN Educational Services – CISS