Recommended Instruction Timeline s3

Instructional Timeline – 3rd Grade Elementary Language Arts – 1st Nine Weeks

Unit 3: Reading – Theme & Genre; Sensory Language Writing – Writing Process; Personal Experience Writing

Suggested Time Frame: ≈ 3 weeks

Introduction The Instructional Timeline, as required by RRISD Local Board Policy (EG – Local, 246909), breaks down the content of each nine-week period into smaller, more manageable units of instruction. Each timeline includes opportunities for teachers to extend instruction and/or to re-teach as necessary; this unit has ______Instructional Days and ______Days to re-teach and/or extend Instruction.

The following Texas Essential Knowledge and Skills (TEKS), the accompanying Knowledge & Skill Statement (KSSs), and Student Expectations (SEs) are listed in this document where they should be taught initially; it is the expectation that the TEKS, KSSs, and SEs will continue to be reviewed so that students master their grade level TEKS, KSSs, and SEs. Figure 19 appears recursively throughout these documents because the TEKS/SEs serve to support the instruction of Figure 19.

Description Theme and Genre, Sensory Language  Students will learn the characteristics of stories from the Theme & Genre category, which encompasses the genres of myth, legend, fairytale, and folktale.  This unit will focus on the themes and lessons transmitted via these various kinds of stories, and the text evidence that supports these themes and lessons. Students are also expected to differentiate the settings as used in myths versus settings in fairytales and folktales.  Students will also study Sensory Language across texts they are reading during reading workshop, as well as examples found in Theme & Genre texts. Folktales, fairytales, myths, and legends typically have rich examples of sensory language because the writer has very few pages within which to draw the reader into another world/land. Vivid descriptions draw the reader into the setting and the story more quickly.

Personal Experience Writing  Students will continue to develop their own stories based on personal experiences through writing workshop. Students should attend to sensory language examples found in the mentor texts (texts the entire class will refer to as excellent examples of writing they should emulate), and incorporate sensory language into their own writing.  Students need to observe their teacher modeling each day. Students should also have weekly opportunities to conference with the teacher.

Assured Experiences Throughout the unit, students experience:  daily opportunities to read and write in a workshop format, as defined in the Introduction of the Texas Essential Knowledge and Skills;  opportunities to read for a minimum of 20 minutes per day in both independent and instructional level text; and  opportunities to read and write a variety of genres throughout the course of the unit.

Suggested Pacing Week 1: Week 2: Week 3:

Note: The symbol “-BMK” indicates that the KSS, SE or TEK to which it is attached will be assessed on an upcoming benchmark assessment.

Reading Workshop Writing Workshop

TEKS/SE Reading TEKS/SEs Writing TEKS/SEs taught during Daily: Independent Reading Daily: Writing Process this period 3.11(A) read independently for a sustained period of time and 3.17 (A) plan a first draft by selecting a genre appropriate for conveying and eligible paraphrase what the reading was about, maintaining meaning and the intended meaning to an audience and generating ideas through a for testing on logical order (e.g., generate a reading log or journal; participate in range of strategies (e.g., brainstorming, graphic organizers, logs, journals) district book talks) (B) develop drafts by categorizing ideas and organizing them into assessments paragraphs- Fluency (C) revise drafts for coherence, organization, use of simple and Bold and 3.3(A) read aloud grade-level appropriate text with fluency (rate, compound sentences, and audience underlined accuracy, expression, appropriate phrasing) and comprehension (D) edit drafts for grammar, mechanics, and spelling using a teacher- TEKS/SE are high stakes Instructional Level Text – 80 words per minute read correctly per developed rubric for our minute, with comprehension (E) publish written work for a specific audience district (less Independent Level Text – 100 words per minute read correctly per than 90% minute, with comprehension mastery on TAKS)

Bold Unit: Theme & Genre Unit: Personal Experiences TEKS/SE are KSS 3.5 – analyze, make inferences and draw conclusions about Students write about their own experiences. assessed on theme and genre in different cultural, historical, and contemporary 3.19(A) write about important personal experiences TAKS contexts and provide evidence from the text to support their understanding 3.5(A) paraphrase the themes and supporting details of fables, legends, myths, or stories Fig. 19 (C) monitor and adjust comprehension (e.g., using background knowledge, creating sensory images, rereading a portion aloud, generating questions) Fig. 19 (D) make inferences about text and use textual evidence to support understanding Fig. 19 (E) summarize information in text, maintaining meaning and logical order 3.5(B) compare and contrast the settings in myths and traditional folktales Fig. 19 (B) ask literal, interpretive, and evaluative questions of text Fig. 19 (F) make connections (e.g., thematic links, author analysis) between literary and informational texts with similar ideas

and provide textual evidence

Unit: Sensory Language [Taught through Theme & Genre] KSS 3.10 – understand, make inferences, and draw conclusions about how an author’s sensory language creates imagery in literary text and provide evidence from text to support their understanding 3.10(A) identify language that creates a graphic, visual experience and appeals to the senses Fig. 19 (A) establish purposes for reading selected texts based upon own or others’ desired outcome to enhance comprehension Fig. 19 (B) ask literal, interpretive, and evaluative questions of text Fig. 19 (D) make inferences about text and use textual evidence to support understanding

Vocabulary Oral and Written Conventions 3.4(A) identify the meaning of common prefixes (e.g., in-, dis-) and 3.22(A) use and understand the function of the following parts of speech suffixes (e.g. –full, -less) and know how they change the meaning of in the context of reading, writing, and speaking (i) verbs (present tense) roots (ii) nouns (singular/plural) 3.4(B) use context to determine the relevant meaning of unfamiliar 3.23(C) recognize and use punctuation marks (i) apostrophes in words or distinguish among multiple meaning words and homographs contractions (ii) commas in dates 3.4(E) alphabetize a series of words to the third letter and use a 3.23(D) use correct mechanics including paragraph indentations dictionary or glossary to determine the meanings, syllabication, and 3.24(A) use knowledge of letter sounds, word parts, word segmentation, pronunciation of unknown words and syllabication to spell Spanish: 3.24(C) spell high-frequency and compound words from the RRISD list 3.4 (A) identify the meaning of common prefixes (e.g., ex-, des-) and [on-going] suffixes (e.g., -era, -oso), and know how they change the meaning of 3.24(D) Spell words with common syllable constructions (e.g., closed, roots open, final stable syllable) 3.4(B) use context clues to determine the relevant meaning of 3.24(F) Spell complex contractions (e.g., should’ve, won’t) unfamiliar words or distinguish among multiple meaning words and Spanish: homographs (e.g., vino - la bebida; vino – del verbo venir) 3.24A (v) words that have the same sound represented by different letters (e.g., “r” and “rr,” as in ratón and perro; “ll” and “y,” as in gigante and jirafa; Phonics “c,” “k,” and “q,” as in casa, kilo, and quince; “c,” “s,” and “z,” as in cereal 3.1(A) decode multisyllabic words in context and independently in semilla, and zapato; “j” and “x,” as in cojín and México; “l” and “y,” as in context by applying common spelling patterns including: (iv)using imán and doy; “b” and “v,” as in burro and vela vi words using “n” before knowledge of common prefixes and suffixes (e.g. dis-, -ly) (v)using “v” (e.g., invitacion), “m” before “b” (e.g., cambiar), and “m” before “p” (e.g., knowledge of derivational affixes (e.g., -de, - ful, -able) comprar) 3.1(B) use common syllabication patterns to decode words (ii) open 3.24 (G) become familiar with the concept of hiatus and diphthongs and syllable (CV) (e.g. ve-to) (v) vowel digraph and dipthongs (ei-ther) the implications for orthographic accents (e.g., le-er, rí-o; quie-ro, vio) Spanish: 3.24 (J) mark accents appropriately when conjugating verbs in simple

3.1(C) decode words by applying knowledge of common spelling and imperfect past, perfect, conditional, and future tenses (e.g., corrió, patterns (e.g., -eigh, -ought) jugó, tenía, gustaría, vendrá) 3.1(D) develop automatic recognition of words that have the same sounds represented by different letters 3.1(E) read words with common prefixes (e.g., in-, des-) and suffixes (e.g., -mente, -dad, -oso) 3.1(H) use knowledge of the meaning of base words to identify and read common compound words (e.g., sacapuntas, abrelatas, salvavidas)

Generaliza- Theme & Genre Personal Experience tions  Folktales, fairytales, and fables are designed to teach lessons  Writers examine texts they are reading closely for examples of writer’s and morals. These texts were originally orally shared stories that craft they can apply in their own writing. were passed down from generation to generation.  The use of sensory language helps the audience make better  Myths are designed to explain the origins of scientific or medical connections with the story by visualizing what is happening based on phenomenon as well as the endings of certain phenomenon. vivid word choices.  Because myths focus on beginnings and endings, myths are set  Most writers have a core of experiences they enjoy writing about in in specific cultures and occur within a specific period of time. different ways.  Folktales, fairytales, and fables are timeless and typically are not bound to a specific location.  Myths feature superhuman characters.  Folktales, fairytales, and fables usually feature human characters or animal characters with human traits. Sensory Language  Sensory language is designed to create images and describe sensations for the reader through the use of language that focuses on the five senses: hearing, tasting, touching, smelling, and seeing.

Essential  How can the reader tell the difference between a lesson and a  Why are mentor texts helpful? Questions moral?  How do writers choose which authors’ books to examine for sensory  What kinds of lessons and morals are passed down by folktales, language? fairytales, myths, and legends?  Where do writers get their inspiration for new stories?  Why is it important to pass down cultures and customs through the use of folktales?  How do the settings of myths and folktales differ?

Core College & Career Readiness Standards (CCRS) – [the STAAR test (2011-12) will be based upon these CCRS, in addition to the related Components © Round Rock I.S.D. 4 Instructional Timeline – 3rd Grade Elementary Language Arts – 1st Nine Weeks

TEKS/SEs] Reading A. Locate explicit textual information, draw complex inferences, and analyze and evaluate the information within and across texts of varying lengths. 6. Analyze imagery in literary texts. 7. Evaluate the use of both literal and figurative language to inform and shape the perceptions of readers. 10. Identify and analyze how an author's use of language appeals to the senses, creates imagery, and suggests mood. C. Describe, analyze, and evaluate information within and across literary and other texts from a variety of cultures and historical periods. 1. Read a wide variety of texts from American, European, and world literatures. 2. Analyze themes, structures, and elements of myths, traditional narratives, and classical and contemporary literature. D. Explain how literary and other texts evoke personal experience and reveal character in particular historical circumstances. 1. Describe insights gained about oneself, others, or the world from reading specific texts. Foundational Skills A. Reading across the curriculum 7. Adapt reading strategies according to structure of texts. 8. Connect reading to historical and current events and personal interest.

Core TEKS/SEs Clarification: TEKS/SEs Clarification: Components Theme & Genre Personal Experiences  Students need to understand that fairy tales, folktales, myths,  Students should continue to develop and experiment with various personal and legends are used in order to pass cultural norms and experiences as a format for writing stories. beliefs on to the next generation. In addition to being  Students should continue to be given opportunities to rehearse their entertaining, each example of Theme & Genre is designed to stories orally as a form of pre-writing. teach lessons to the reader. Originally, these texts were  Students should incorporate sensory language into their own writing, exclusively oral, passed down from generation-to-generation drawing upon the examples they are encountering in Theme & Genre by word of mouth. texts.  Students are expected to examine the differences between  Students should become familiar with favorite authors and how those the settings of myths & the settings of folktales. The setting authors use sensory language in their writing. These will become great is one of the critical characteristics that distinguishes myths mentor texts that students can study and inform their own writing. from folktales. Folktales are not located in any specific period  It is important to remember that students need to share their writing often. of time. Although many folktales have origins that are old, the  As part of writing workshop, students will be in different places within the tales themselves are not bound by time. However, myths writing process cycle – writing workshop does not take place in a lock-step deal with the origins of phenomenon and clearly are set in fashion. specific cultures and in specific times.  Students need to be exposed to folktales (fables, myths, legends, stories). Students need to see examples from a variety of cultural as well as those that are historical and contemporary.  Cultural – For example, there are many versions of

Cinderella, which represent various cultures (The Rough- Face Girl by Rafe Martin, David Shannon – 47 copies; The Egyptian Cinderella by Shirley Climo – 30 copies; Yeh-Shen: a Cinderella Story from China by Ai-Ling Louie – 17 copies). Another example comes from the Ananse stories: Ananse and the Lizard: a West African tale – 15 copies.  Historical – These represent versions of folktales that are closer to the original stories that came from specific countries. These are not Disney versions of stories, but closely represent the oral versions told in cultures for great periods of time. Examples include Cinderella by Charles Perrault – 5 copies; The Sleeping Beauty retold by Trina Schart Hyman; John Henry: an American Legend by Ezra Jack Keats – 11 copies.  Contemporary – These are fractured versions of traditional tales or creative versions that have been written in the last 10 years.

Sensory Language  Students will need to explore notion of sensory language through the lens of the five senses. They need to understand that not all five senses will usually be addressed – what is happening in the poem or story will impact which senses are described.

Core Vocabulary Components The vocabulary noted below is derived from this grade level’s TEKS/SEs. Related definitions come from the TEA Glossary. Please visit the following TEA links for additional information: English / Spanish.

A-I J-Z conflict magic helper In literature, conflict is the opposition of persons or forces that brings A stylistic element used by the author in the genre of fantasy to introduce about dramatic action central to the plot of a story; conflict may be magic into the story (e.g., the fairy godmother in Cinderella). internal, as a psychological conflict within a character, or external (e.g., man versus man, man versus nature, or man versus society). mythic literature A body of traditional or sacred stories to explain a belief or a natural contemporary folktale happening. A folktale that is set in a contemporary context (e.g., Cinder Edna). quest, the

elements of fiction A convention in myths and epic tales in which the hero embarks on a Narrative elements including setting, characters, plot, and theme. journey and works to reach a goal (e.g., Jason’s search for the Golden Fleece) in the course of his or her journey. exaggeration A rhetorical fallacy in which there is an overstatement or a resolution representation of more than is true. The point in a literary work at which the story’s problem is worked out.

genre rule of three The type or class of a work, usually categorized by form, technique, A principle that states that things grouped or presented in threes create or content. Some examples of literary genres are epic, tragedy, a more effective, satisfying, and memorable pattern. Examples include comedy, poetry, novel, short story, and creative nonfiction. the three little pigs, the three Musketeers, or Aristotle’s three types of speeches. hero’s tasks, the A convention in myths and epic tales in which the hero embarks on a sensory detail journey and must complete a series of tests or challenges along the A detail in writing that describes what is seen, heard, smelled, tasted, or way. touched.

sensory language Words an author uses to help the reader experience the sense elements of the story. Sensory words are descriptions of the five senses: sight, sound, touch, smell, and taste.

setting The time and place in which a narrative occurs. Elements of setting may include the physical, psychological, cultural, or historical background against which the story takes place.

theme The central or universal idea of a piece of fiction or the main idea of a nonfiction essay. A universal theme transcends social and cultural boundaries and speaks to a common human experience. A theme may be explicit or implicit. In a work with an explicit theme, the author overtly states the theme somewhere within the work. Implicit theme refers to the author’s ability to construct a piece in such a way that through inference the reader understands the theme.

Curricular Myths that have connections to force, energy, motion can be compared to what students are learning about in Science relating to these concepts. Connections Because all myths address Science in some way, there are natural connections to be made. We want to ensure that students understand myths precede Scientific understanding. © Round Rock I.S.D. 7 Instructional Timeline – 3rd Grade Elementary Language Arts – 1st Nine Weeks

Required Lessons

Recommend- Mini-Lesson Ideas Mini-Lesson Ideas ed Lessons  Use graphic organizers to analyze genre  Finding examples of “The Rule of 3,” hero’s quest, and tasks the hero must accomplish in order to complete the quest

Differentia-  English Language Proficiency Standards Student Expectations with Sentence Stems and Activities to support implementation of the tion: Standards (Note: when you open the link, it may ask you for a certificate or if it is OK to open the file, click OK each time you see the screens.)  As part of allowable accommodations for Special Education students, students are allowed to use graphic organizers on the TAKS test as long as these accommodations are regularly used as part of classroom instruction. Region 13 has started a powerful project to collect as many of these graphic organizers as possible, and via their website post the degree to which TEA blesses or partially blesses these organizers as allowable. The graphic organizers are posted by content area: http://www5.esc13.net/agc/accommodations.html

Instructional Websites Resources  Think Central – Leveled readers associated with the Journeys and Senderos textbooks  Pearson Successnet - Leveled Readers for Science and Social Studies content  Read-Write-Think – Model lessons  Teacher Professional Books (ASCD)

Textbook Resources Note: The resources below are suggested as possible shared reading and/or writing experiences. Please use your judgment to determine if these selections are appropriate for use with your students. Journeys Senderos  

Books  Fountas, I. C., & Pinnell, G. S. (2001). Guiding readers and writers, grades 3-6: teaching comprehension, genre, and content literacy. Portsmouth, NH: Heinemann. (170 copies, iBistro)  Harvey, S., & Goudvis, A. (2005). The comprehension toolkit grades 3-6: language and lessons for active literacy. Portsmouth, NH: Heinemann. (61 copies, iBistro)  Harvey, S., & Goudvis, A. (2000). Strategies that work: teaching comprehension to enhance understanding. Portland, ME: Stenhouse Publishers. (193 copies, iBistro)  Ray, K. W. (2006). Study driven: a framework for planning units of study in the writing workshop. Portsmouth, NH: Heinemann. (69 copies, iBistro)

Assessment Sample Questions/Sentence Stems: Resources  What change, if any, should be made in sentence ___?  What is the BEST way to combine sentences___ and____?  Which of the following is NOT a complete sentence?  What is the BEST way to rewrite sentence _____?