Narration Foundationunit Middle School • CCSS Edition Narration Middle School • CCSS Edition Narrationnarration Use This Online Resources Packet Only

FoundationUnit Narration FoundationUnit Middle School • CCSS Edition Narration Middle School • CCSS Edition NarrationNarration Use this Online Resources Packet only

Unit Unit Middle School • CCSS Edition

Unit Unit Middle School • CCSS Editionwith the CCSS Edition of the:

Foundation Unit Narration: Middle School

ISBN 978-1-40261-253-4 ISBN: 978-1-40261-258-9 Pearson Washington, DC Foundation Foundation 800.221.3641 202.783.3672 fax www.pearson.com Narration ISBN: 978-1-40261-258-9 Pearson Washington, DC Foundation Foundation 800.221.3641 202.783.3672 fax www.pearson.com

Online Resources packet

FoundationUnit Copyright © 2012 Pearson Education, Inc., or its affiliates. All Rights Reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. The publisher hereby grants permission to reproduce these pages, in part or in whole, for classroom use only, the number not to exceed the number of students in each class. Notice of copyright must appear on all copies. For information regarding permissions, write to Pearson Curriculum Group Rights & Permissions, One Lake Street, Upper Saddle River, New Jersey 07458.

ISBN: 978-5-90801-439-7 1 2 3 4 5 6 7 8 9 10 14 13 12 11 10 Contents Narration

Pre-Assessment Writing a Narrative Scoring Guide

Lesson materials L esson 1: Setting Up a Writer’s Notebook Lesson 2: “My Name” Excerpt Lesson 3: “The Jacket” Lesson 4: Summarizing a Plot Lesson 5: “The Jacket” Excerpt I Lesson 6: “The Book of Memory, Book Thirteen” Excerpt Lesson 7: “The Jacket” Excerpt II She Remembers: Auster Mimic Example Lesson 8: “Thank You, M’am” Lesson 9: “The Jacket” Excerpt III My Dog Skip Excerpt Analyzing Setting: My Dog Skip Teacher Ideas for Show, Not Tell Exercises Memorable Place Guidelines for Modeling Feedback Lesson 10: The Writer’s Toolkit: What to Do When You Think You Are Done Features of a Good Story Lesson 11: Plot Structure Plot Structure (completed) Lesson 12: Reflection on a Quotation Lesson 14: Plot Structure: Checklist Lesson 15: Rubric for a Narrative Rubric for a Narrative (completed) “Miss Sadie” Assessing a Narrative Using the Class Rubric Lesson 17: Strategies for Great Leads (completed) Lesson 18: Strategies for Magnified Moments (completed)

L esson 19: Sentence Patterns for Cumulative Sentences Distinguishing Parts of Cumulative Sentences Lesson 20: Sentence Patterns for Verb Clusters Distinguishing Verb Clusters Lesson 22: “All Summer in a Day” Excerpt Placement of Dialogue in a Narrative Lesson 23: Strategies for Great Endings Strategies for Great Endings (completed) Lesson 24: What to Do When Revising Lesson 26: Statement by Gary Soto about Revision Response Group Planner Response Group Planner “Notes” Lesson 27: What to Do When Editing

Post-Assessment Writing a Narrative Scoring Guide

Additional MATERIALS Publishing and Celebrating Post-Unit Reflection

CCSS Correlation

Writing a Narrative

Directions Read the following prompt carefully. As you read, make notes about your initial responses. Use these notes to write an effective narrative. A utobiographical Narrative for a Teen Magazine A udience. A teen magazine is looking for young adults to submit engaging autobiographical narratives that will attract new readers to the magazine.

Purpose. Editors are asking teenagers to imagine they are writing an autobiography about their lives, with stories that other teens would find fascinating and compelling. Each chapter will involve one story—one experience that is a “must” for your book.

This month’s topic for a chapter is called: “An Unforgettable Moment.”

Task. Write a narrative about one of your own unforgettable moments. Editors are looking for certain qualities in your story and the stories they will publish.

Your moment should:

• Be of special interest to teens

• Provide interesting details; for example, the setting, the people, the situation that led to the unforgettable moment

• Communicate the importance of the moment and why it is a must for your book

• Use your own unique voice

Scoring Guide

Narrative

Student’s Name: Student ID:

Read each of the statements below, and circle the number on the scale that most accurately reflects your assessment of the narrative.

4 = strong 3 = moderately strong 2 = somewhat weak 1 = weak

1. Lead engages the reader and establishes a situation. 4 3 2 1

2. A strong voice is evident. 4 3 2 1

3. Setting creates a believable world and casts a mood. 4 3 2 1

4. Characters are well developed. 4 3 2 1

5. Plot has logical arrangement of ideas and is skillfully paced; transitions 4 3 2 1 move the plot forward.

6. Details evidence a range of strategies: description, figurative language, 4 3 2 1 dialogue, and precise word choice.

7. Conclusion is satisfying, with implicit or explicit significance. 4 3 2 1

8. Sentences are varied with a variety of beginnings, structures, and lengths. 4 3 2 1

9. Narrative is composed with audience and purpose in mind. 4 3 2 1

10. Standard English conventions are controlled. Surface errors do not impede 4 3 2 1 understanding. English language learners may integrate native language expressions effectively.

Additional comments:

Setting Up a Writer’s Notebook

Step 1: At the center top 20 pages of the very first page, Date Table of Contents Page # from the end I. Writing Explorations 1 write the title Table II. Sentence Explorations # Last page of III. Glossary of Narrative # of Contents. Writing the notebook

Step 2: To the left of the title, write Date.

Step 3: To the right of the title, write Page #.

Step 4: On the first line below the title, list the sections and corresponding page numbers: Writing i Explorations, Sentence Explorations, and Glossary of Narrative Writing.

Step 5: Dr aw a line under the last listed section (the glossary), and place a Roman numeral “i” in the lower-right corner.

Step 6: C ontinue numbering pages, front and back, using Roman numerals. Stop with page “vi.” Place numbers for the back of the pages in the lower-left corner.

Step 7: On the seventh page, create a title page for Writing Explorations, and place a number “1” in the lower right corner.

Step 8: C ontinue numbering pages, front and back. About 20 pages from the end of the notebook, create a section titled Sentence Explorations.

Step 9: On the very last page, create a section titled Glossary of Narrative Writing. For this section, you will work backward from this page.

“My Name” Excerpt by Sandra Cisneros

1 In English my name means hope. In Spanish it means too many letters. It means sadness, it means waiting. It is like the number nine. A muddy color. It is the Mexican records my father plays sobbing, n. crying in a on Sunday mornings when he is shaving, songs like sobbing. noisy way

2 It was my great-grandmother’s name and now it is mine. She was a horse woman Chinese year of the horse. too, born like me in the Chinese year of Refers to the Chinese zodiac, which assigns an the horse—which is supposed to be bad animal to the year a person luck if you’re born female—but I think was born. Like western astrology, the Chinese this is a Chinese lie because the Chinese, zodiac predicts personality like the Mexicans, don’t like their women traits and fortunes. strong.

3 My great-grandmother. I would’ve liked to have known her, a wild horse of a woman, so wild she wouldn’t marry. Until my great-grandfather threw a sack over her head and carried her chandelier, n. a fancy light off. Just like that, as if she were a fancy chandelier. That’s the fixture that hangs from the way he did it. ceiling

4 And the story goes she never forgave him. She looked out the window her whole life, the way so many women sit their sadness on an elbow. I wonder if she made the best with what she got or was she sorry because she couldn’t be all the things inherit, v. to receive she wanted to be. Esperanza. I have inherited her name, but I something from a person don’t want to inherit her place by the window. who used to have it, usually after that person has died 5 At school they say my name funny as if the syllables were made out of tin and hurt the roof of your mouth. But in Spanish my

name is made out of a softer something, like silver, not quite as © 2010 America’s Choice thick as sister’s name—Magdalena—which is uglier than mine. Magdalena who at least can come home and become Nenny. But I am always Esperanza.

“My Name” (continued)

1 I would like to baptize myself under a new name, a name more like the real me, the one nobody sees. Esperanza as Lisandra or Maritza or Zeze the X. Yes. Something like Zeze the X will do.

From The House on Mango Street. Copyright © 1984 by Sandra Cisneros. Published by Vintage Books, a division of Random House, Inc., and in hardcover by Alfred A. Knopf in 1994. No further reproduction or distribution of this material is permitted. Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved. © iStockphoto.com

“The Jacket” by Gary Soto

1 My clothes have failed me. I remember the green coat that I wore in fifth and sixth grades when you either danced like a champ or pressed yourself against a greasy wall, bitter as a bitter as a penny, expression (simile) penny toward the happy couples. suggesting resentment or anger 2 When I needed a new jacket and my mother asked what kind I wanted, I described something like bikers wear: black leather and silver studs with enough belts to hold down a small town. We were in the kitchen, steam on the windows from her cooking. She listened so long while stirring dinner that I thought she understood for sure the kind I wanted. The next day when I got home from school, I discovered draped on my bedpost a jacket the color of day-old guacamole. I threw my books on the bed and approached the jacket slowly, as if it were a stranger whose hand I had to shake. I touched the vinyl sleeve, the collar, and peeked at the mustard-colored lining.

3 From the kitchen mother yelled that my jacket was in the closet. I closed the door to her voice and pulled at the rack of clothes in the closet, hoping the jacket on the bedpost wasn’t for me but my mean brother. No luck. I gave up. From my bed, I stared at the jacket. I wanted to cry because it was so ugly and so big that I knew I’d have to wear it a long time. I was a small kid, thin as a young tree, and it would be years before I’d have a new one. I stared at the jacket, like an enemy, thinking bad things before I took off my old jacket whose sleeves climbed halfway to my elbow.

“The Jacket” (continued)

4 I put the big jacket on. I zipped it up and down several times, and cuffs, n. the ends of rolled the cuffs up so they didn’t sleeves on a jacket, shirt, or sweater, usually thicker cover my hands. I put my hands in than the rest of the sleeve the pockets and flapped the jacket like a bird’s wings. I stood in front of the mirror, full face, then profile and then looked over my shoulder as if someone had called me. I sat on the bed, stood against the bed, and combed my hair to see what I would look like doing something natural. I looked ugly. I threw it on my brother’s bed and looked at it for a long time before I slipped it on and went out to the backyard, smiling a “thank you” to my mom as I passed her in the kitchen. With my hands in my pockets I kicked a ball against the fence, and then climbed it to sit looking into the alley. I hurled orange peels at the mouth of an open garbage can and when the peels were gone I watched the white puffs of my breath thin to nothing.

5 I jumped down, hands in my pockets, and in the backyard on my knees I teased my dog, Brownie, by swooping my arms while making bird calls. He jumped at me and missed. He jumped again and again, until a tooth sunk deep, ripping an L-shaped tear on my left sleeve. I pushed Brownie away to study the tear as I would a cut on my arm. There was no blood, only a few loose pieces of fuzz. Damn dog, I thought, and pushed him away hard when he tried to bite again. I got up from my knees and went to my bedroom to sit with my jacket on my lap, with the lights out.

“The Jacket” (continued)

6 That was the first afternoon with my new jacket. The next day I wore it to sixth grade and got a D on a math quiz. During the morning recess Frankie T., the playground terrorist, pushed me to the ground and told me to stay there until recess was over. My best friend, Steve Negrete, ate an apple while looking at me, and the girls turned away to whisper on the monkey bars. The teachers were no help: they looked my way and talked about how foolish I looked in my new jacket. I saw their heads bob with laughter, their hands half-covering their mouths.

braille, n. a system of 7 Even though it was cold, I took off the jacket during lunch and printing for blind people. played kickball in a thin shirt, my arm feeling like braille from Letters are printed as raised dots that you can the goose bumps. But when I returned to class I slipped the feel with your fingers. jacket on and shivered until I was warm. I sat on my hands, goose bumps, n. raised heating them up, while my teeth chattered like a cup of skin, like pimples, causes by crooked dice. Finally warm, I slid out of the jacket but a few cold, fear, or excitement minutes later put it back on when the fire bell rang. We paraded chattered like a cup of out into the yard where we, the sixth graders, walked past all crooked dice, (simile) comparison of the sound the other grades to stand against the back fence. Everybody teeth make knocking saw me. Although they didn’t say out loud, “Man, that’s ugly,” together when a person is cold, to the sound dice I heard the buzz-buzz of gossip and even laughter that I knew make when shaken in a was meant for me. cup. “Crooked” suggests that Soto’s teeth are also crooked and implies 8 And so I went, in my guacamole-colored jacket. So negative self-esteem since embarrassed, so hurt, I couldn’t even do my homework. I “crooked dice” are not legal dice. received Cs on quizzes, and forgot the state capitals and rivers of South America, our friendly neighbor. Even the girls who had been friendly blew away like loose flowers to follow the boys in neat jackets.

“The Jacket” (continued)

9 I wore that thing for three years until the sleeves grew short and my forearms stuck out like the necks of turtles. All during that time no love came to me—no little dark girl in a Sunday dress she wore on Monday. At lunchtime I stayed with the ugly boys who leaned against the chainlink fence and looked around with propeller, n. a device with propellers of grass spinning in our mouths. We saw girls walk blades which is attached to by alone, saw couples, hand in hand, their heads like bookends a boat or aircraft; an engine makes the blades spin pressing air together. We saw them and spun our propellers so around like a fan fast our faces were blurs.

10 I blame that jacket for those bad years. I blame my mother for her bad taste and her cheap ways. It was a sad time for the heart. With a friend I spent my sixth-grade year in a tree in the alley, waiting for something good to happen to me in that jacket, which had become the ugly brother who tagged along wherever I went. And it was about that time that I began to grow. My chest puffed up with muscle and, strangely, a few more ribs. Even my hands, those fleshy hammers, showed stuffing, n. material used to bravely through the cuffs, the fingers already hardening for fill the insides of such items the coming fights. But that L-shaped rip on the left sleeve got as pillows, mattresses, jackets, to make them firm bigger, bits of stuffing coughed out from its wound after a hard day of play. I finally Scotch-taped it closed, but in rain or cold scab, n. hard, dry covering that forms over a cut or weather the tape peeled off like a scab and more stuffing fell wound out until that sleeve shrived into a palsied arm. That winter the palsied, adj. pertaining elbows began to crack and whole chunks of green began to to someone who may be fall off. I showed the cracks to my mother, who always seemed paralyzed in some way and be unable to move to be at the stove with steamed-up glasses, and she said there were children in Mexico who would love that jacket. I told her that this was America and yelled that Debbie, my sister, didn’t have a jacket like mine. I ran outside, ready to cry, and climbed the tree by the alley to think bad thoughts and watch my breath puff white and disappear.

“The Jacket” (continued)

11 But whole pieces still casually flew off my jacket when I played hard, read quietly, or took vicious spelling tests at school. When it became so spotted that my brother began to call me camouflage, n. a design of “camouflage,” I flung it over the fence into the alley. Later, leaves, branches, or brown however, I swiped the jacket off the ground and went inside to and green paint used in military uniforms to make drape it across my lap and mope. it difficult for an enemy to see a soldier 12 I was called to dinner: steam silvered my mother’s glasses as she said grace; my brother and sister with their heads bowed made ugly faces at their glasses of powdered milk. I gagged too, but eagerly ate big rips of buttered tortilla that held scooped-up beans. Finished, I went outside with my jacket across my arm. It was a cold sky. The faces of clouds were piled gagged, v. almost vomited up, hurting. I climbed the fence, jumping down with a grunt. I started up the alley and soon slipped into my jacket, that green ugly brother who breathed over my shoulder that day and ever since.

Summarizing a Plot

Somebody Wants But So Then Who is the main What does the What is the conflict How does the How does the story character? main character or problem? What character deal resolve itself or want? prevents the with or solve the end? How does the character from problem? character move on? getting what he or she wants?

Summary paragraph:

“The Jacket” Excerpt I

Excerpt I

When I needed a new jacket and my mother asked what kind I wanted, I described something like bikers wear: black leather and silver studs with enough belts to hold down a small town. We were in the kitchen, steam on the windows from her cooking. She listened so long while stirring dinner that I thought she understood for sure the kind I wanted. The next day when I got home from school, I discovered draped on my bedpost a jacket the color of day-old guacamole. I threw my books on the bed and approached the jacket slowly, as if it were a stranger whose hand I had to shake. I touched the vinyl sleeve, the collar, and peeked at the mustard-colored lining.

Think about how this paragraph is “like a photograph.”

Highlight the lines that provide strong images of the jacket.

“The Book of Memory, Book Thirteen” Excerpt by Paul Auster

1 He remembers that he gave himself a new name, John because all cowboys were named John, and that each time his mother addressed him by his real name he would refuse to answer her. He remembers running out of the house and lying in the middle of the road with his eyes wide shut, waiting for a car to run him over. He remembers that his grandfather gave him a large Gabby Hayes. An American photo of Gabby Hayes and that it sat in a place of honor on the actor best known for his appearances in western, top of his bureau. He remembers thinking the world was flat. cowboy movies. He remembers learning how to tie his shoes. He remembers that his father’s clothes were kept in the closet in his room and that it was the noise of hangers clicking together in the morning that would wake him up. He remembers the sight of his father knotting his tie and saying to him, Rise and shine rise and shine. Expression meaning get out of bed little boy. He remembers wanting to be a squirrel, because he and prepare for the day wanted to be light like a squirrel and have a bushy tail and be (work). able to jump from tree to tree as though he were flying. He venetian blinds, n. remembers looking through the venetian blinds and seeing his A window covering composed of long newborn sister coming home from the hospital in his mother’s horizontal strips, usually arms. He remembers the nurse in a white dress who sat beside made of metal or vinyl. his baby sister and gave him little squares of Swiss chocolate. He remembers that she called them Swiss although he did not know what that meant. He remembers lying in his bed at dusk in midsummer and looking at the tree through his window and configuration, n. an seeing different faces in the configuration of the branches. He arrangement of parts; a remembers sitting in the bathtub and pretending that his knees design. were mountains and that the white soap was an ocean liner.

From The Invention of Solitude by Paul Auster. Reprinted with permission. © iStockphoto.com/Nadezhda Bolotina

“The Jacket” Excerpt II

Excerpt II That winter the elbows began to crack and whole chunks of green began to fall off. I showed the cracks to my mother, who always seemed to be at the stove with steamed-up glasses, and she said there were children in Mexico who would love that jacket. I told her that this was America and yelled that Debbie, my sister, didn’t have a jacket like mine. I ran outside, ready to cry, and climbed the tree by the alley to think bad thoughts and watch my breath puff white and disappear.

Choose one of these sentence frames. The important thing about this moment is . . .

This moment stays with Gary Soto because . . .

She Remembers: Auster Mimic Example

Wide-angle lens: She remembers removing the screen from her bedroom window to send a paper airplane into Heather’s bedroom window, across the alley, with a note written on it in the middle of the night.

Zooming in: She remembers how cleverly she could remove the screen without making a noise. She remembers the smell of the screen, a damp rusty kind of smell. She remembers how Heather and she would muffle their giggles, knowing they were getting away with being up so late at night. She remembers how the crickets sounded when there was silence and how vast the dark sky looked with all the stars twinkling when she ventured her head out the window, careful not to reach too far and fall out the window. She remembers how they must have laughed too hard anyway because Heather’s mother came into Heather’s bedroom and shut the curtains with an angry snapping sound. She remembers her own mother screeching at the top of her lungs for Heather to get to bed. She remembers how Heather’s mother had a talk with her mother the next day, and both girls were put on restriction for a week.

“Thank You M’am” by Langston Hughes

1 She was a large woman with a large purse that had everything in it but a hammer and nails. It had a long strap, and she carried it slung across her shoulder. It was about eleven o’clock at night, dark, and she was walking alone, when a boy ran up behind her and tried to snatch her purse. The strap broke with the sudden snatch, v. to steal single tug the boy gave it from behind. But the boy’s weight tug, n. a strong, hard, pull and the weight of the purse combined caused him to lose his taking off full blast, an balance. Instead of taking off full blast as he had hoped, the idiom meaning running or boy fell on his back on the sidewalk and his legs flew up. The speeding away fast, like a rocket large woman simply turned around and kicked him right square in his blue-jeaned sitter. Then she reached down, picked the blue-jeaned sitter, an expression meaning the boy up by his shirtfront, and shook him until his teeth rattled. character’s “seat” which is attired in 2 After that the woman said, “Pick up my pocketbook, boy, and blue jeans give it here.” pocketbook, n. another name for a purse 3 She still held him tightly. But she bent down enough to permit him to stoop and pick up her purse. Then she said, “Now ain’t stoop, v. to bend forward you ashamed of yourself?” from the waist down

4 Firmly gripped by his shirtfront, the boy said, “Yes’m.”

5 The woman said, “What did you want to do it for?”

6 The boy said, “I didn’t aim to.” I didn’t aim to, an 7 She said, “You a lie!” expression meaning “I didn’t mean to” 8 By that time two or three people passed, stopped, turned to look, and some stood watching.

“Thank You M’am” (continued)

9 “If I turn you loose, will you run?” asked the woman. turn you loose, an expression meaning “let you go” 10 “Yes’m,” said the boy.

11 “Then I won’t turn you loose,” said the woman. She did not release him.

12 “Lady, I’m sorry,” whispered the boy.

13 “Um-hum! Your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?”

14 “No’m,” said the boy.

15 “Then it will get washed this evening,” said the large woman, starting up the street, dragging the frightened boy behind her.

16 He looked as if he were fourteen or fifteen, frail and willow- frail, adj. physically weak; wild, in tennis shoes and blue jeans. delicate

willow-wild, adj. meaning 17 The woman said, “You ought to be my son. I would teach you tall and slender like a right from wrong. Least I can do right now is to wash your face. willow tree and wild Are you hungry?”

18 “No’m,” said the being-dragged boy. “I just want you to turn me loose.”

19 “Was I bothering you when I turned that corner?” asked the woman.

20 “No’m.”

21 “But you put yourself in contact with ,” said the woman. “If me you got another thought you think that that contact is not going to last a while, you got coming, an expression meaning “you’re another thought coming. When I get through with you, sir, you wrong”; “you had better are going to remember Mrs. Luella Bates Washington Jones.” think about this some more”

“Thank You M’am” (continued)

22 Sweat popped out on the boy’s face and he began to struggle. Mrs. Jones stopped, jerked him around in front of her, put a half half nelson, n. a wrestling nelson about his neck, and continued to drag him up the street. hold in which the holder puts an arm under the When she got to her door, she dragged the boy inside, down opponent’s arm and exerts a hall, and into a large kitchenette-furnished room at the rear pressure on the back of the neck of the house. She switched on the light and left the door open. The boy could hear other roomers laughing and talking in the roomers, n. people who rent rooms in a house large house. Some of their doors were open, too, so he knew he and the woman were not alone. The woman still had him by the neck in the middle of her room.

23 She said, “What is your name?”

24 “Roger,” answered the boy.

25 “Then, Roger, you go to that sink and wash your face,” said the woman, whereupon she turned him loose—at last. Roger looked at the door—looked at the woman—looked at the door—and went to the sink.

26 “Let the water run until it gets warm,” she said. “Here’s a clean towel.”

27 “You gonna take me to jail?” asked the boy, bending over the sink.

28 “Not with that face, I would not take you nowhere,” said the woman. “Here I am trying to get home to cook me a bite to eat and you snatch my pocketbook! Maybe you ain’t been to your supper either, late as it be. Have you?”

29 “There’s nobody home at my house,” said the boy.

30 “Then we’ll eat,” said the woman. “I believe you’re hungry—or been hungry—to try to snatch my pocketbook!”

“Thank You M’am” (continued)

31 “I want a pair of blue suede shoes,” said the boy.

32 “Well you didn’t have to snatch my pocketbook to get some suede shoes,” said Mrs. Luella Bates Washington Jones. “You could of asked me.”

33 “M’am?”

34 The water dripping from his face, the boy looked at her. There was a long pause. A very long pause. After he had dried his face and not knowing what else to do, dried it again, the boy turned around, wondering what next. The door was open. He could make a dash for it down the hall. He could run run, run, run!

35 The woman was sitting on the daybed. After a while she said, “I were young once and I wanted things I could not get.”

36 There was another long pause. The boy’s mouth opened. Then frowned, v. making a facial he frowned, not knowing he frowned. expression that shows sadness or displeasure 37 The woman said, ‘Um-hum! You thought I was going to say but, didn’t you? You thought I was going to say, but I didn’t snatch people’s pocketbooks. Well, I wasn’t going to say that.” Pause. Silence. “I have done things, too, which I would not tell you, son—neither tell God, if He didn’t already know. Everybody’s got something in common. So you set down while I fix us something to eat. You might run that comb through your hair so you will look presentable.”

“Thank You M’am” (continued)

38 In another corner of the room behind a screen was a gas plate icebox, n. refrigerator and an icebox. Mrs. Jones got up and went behind the screen. The woman did not watch the boy to see if he was going to run now, nor did she watch her purse, which she left behind her on the daybed. But the boy took care to sit on the far side of the room, away from the purse, where he thought she could easily see him out of the corner of her eye if she wanted to. He did not trust the woman not to trust him. And he did not want to be mistrusted now.

39 “Do you need somebody to go to the store,” asked the boy, “maybe to get some milk or something?”

40 “Don’t believe I do,” said the woman, “unless you just want sweet milk yourself. I was going to make cocoa out of this canned milk I got here.”

41 “That will be fine,” said the boy.

42 She heated some lima beans and ham she had in the icebox, made the cocoa, and set the table. The woman did not ask the boy anything about where he lived, or his folks, or anything else that would embarrass him. Instead, as they ate, she told him about her job in a hotel beauty shop that stayed open late, what the work was like, and how all kinds of women came in and out, blondes, redheads, and Spanish. Then she cut him a half of her ten-cent cake.

43 “Eat some more, son,” she said.

“Thank You M’am” (continued)

44 When they were finished eating, she got up and said, “Now here, take this ten dollars and buy yourself some blue suede shoes. And next time, do not make the mistake of latching onto pocketbook —because shoes got by my nor nobody else’s shoes got by devilish ways devilish ways will burn your feet. I got to get my rest now. But will burn your feet, an expression suggesting that from here on in, son, I hope you will behave yourself.” if people obtain a personal item through illegal 45 She led him down the hall to the front door and opened it. means, they are bound to get caught “Good night! Behave yourself, boy!” she said, looking out into the street as he went down the steps.

46 The boy wanted to say something other than, “Thank you, m’am,” to Mrs. Luella Bates Washington Jones, but although his barren, adj. bare, empty, lips moved, he couldn’t even say that as he turned at the foot of lack of vegetation the barren stoop and looked up at the large woman in the door. stoop, n. small porch or Then she shut the door. set of steps at the front entrance of a house

“Thank You, M’am” from Short Stories of Langston Hughes by Langston Hughes. Copyright © 1996 by Ramona Bass and Arnold Rampersad. Reprinted by permission of Hill and Wang, a division of Farrar, Straus, and Giroux, LLC.

“The Jacket” Excerpt III

Excerpt III Highlight details that make the setting memorable.

Setting: The “Alleyway” I kicked a ball against a fence, and then climbed it to sit looking into the alley. I hurled orange peels at the mouth of an open garbage can and when the peels were gone I watched the white puffs of my breath thin to nothing.

With a friend I spent my sixth-grade year in a tree in the alley, waiting for something good to happen to me in that jacket . . .

I ran outside, ready to cry, and climbed the tree by the alley to think bad thoughts and watch my breath puff white and disappear.

After discussing this excerpt in your class, complete one of these two sentence frames. The important thing about the alleyway is . . .

The details of the alleyway setting [convey] [suggest] that . . .

Select a word from the “Mood Words” chart to complete this sentence frame. The setting establishes a ______mood.

My Dog Skip Excerpt by Willie Morris

My Dog Skip is an autobiographical narrative about growing up in Mississippi in the 1940s. The writer, Willie Morris, is shy and unable to make friends until his parents give him a puppy, which becomes beloved in the neighborhood and allows him to have more confidence in meeting others.

Read as a Writer Read this excerpt which describes the setting for events taking place in My Dog Skip. Follow by highlighting memorable details, inventing a telling sentence that captures significance, and drafting a sentence which suggests a mood.

1 The town where Old Skip and I grew up together was an unhurried and isolated place then. About ten thousand people isolated, adj. separated from others; standing apart lived there, of all races and origins, and it sat there crazily, half or alone on steep hills and half on the flat Delta. Some of the streets paved, adj. covered with were not paved, and the main street, stretching its several a hard surface, often blocks from the Dixie Theater down to the bend in the river, concrete or asphalt

was narrow and plain, but down along the quiet, shady streets, descendants, n. people with their magnolia and pecan and elm and locust trees, were born into later generations of a family or line of the stately old houses that had been built long before the Civil ancestors War, slightly dark and decaying until the descendents became prosperous, adj. financially prosperous enough to have them “restored,” which usually successful, having more meant one coat of white enamel. than enough money

enamel, n. a paint that dries to a hard, glossy finish

My Dog Skip Excerpt (continued)

2 All of this was before the big supermarkets and shopping affluent, adj. having a lot of centers and affluent subdivisions with no sidewalks and the money monster highways and the innocence lost. It was even before innocence, n. having no or there was television, and people would not close their doors very little knowledge of or and shut their curtains to watch the quiz games or the comedy experience with the more complex and unpleasant hours or the talk shows where everybody talks at once. We aspects of life would sit out on our front porches in the hot, serene nights and serene, adj. calm, quiet, say hello to everyone who walked by. If the fire truck came past, peaceful we all got in our cars to follow it, and Skip was always the first melancholy, adj. very sad to want to go. The houses were set out in a line under the soft green trees, their leaves rustling gently with the breeze. From the river sometimes came the melancholy echo of a boat’s horn.

Willie Morris. 1996. My Dog Skip. New York: Vintage Books. Reprinted with permission.

Analyzing Setting: My Dog Skip

Task #1. If this setting were filmed for a movie, which details should be “zoomed-in” on? Highlight the memorable, unforgettable details in the text.

Task #2. Record four highlighted details that are “musts” for the movie.

Task #3. Choose one of the sentence frames to write a telling sentence that expresses what all the details are trying to “show” about the setting.

Back then, . . . but now . . .

In the past . . .; in the present . . .

Invent your own telling sentence.

Task #4. Suggest a word for the mood the setting conveys and write a summary statement.

The setting establishes a ______mood.

Teacher Ideas for Show, Not Tell Exercises

Turn the telling sentence into a showing paragraph without using the telling sentence.

Characters • She/he is lazy. • She/he is artistic. • She/he is romantic. • She/he is the picture of health. • She/he is stubborn. • She/he is generous. Settings • It was a cold winter day. • The neighborhood was alive. • The mall was like a ghost town. • The forest was magical. • My room was a mess. • The stadium was crowded. Moments • The atmosphere grew tense. • She took her time. • Everything grew silent. • Laughter erupted. • The last minute of the game was a nail-biter. • I was stuck.

Memorable Place

Teacher Example

I could see Nick’s Corner Store from my bedroom window, not a complete view, just the side curb where customers would pull up to run in and grab last-minute groceries. Nick’s Corner Store was like an amusement park to me, and how often— standing on my tip-toes and stretching my neck out the window—I longed for permission to run down the path on my own and buy whatever I wanted to buy, with no grown-ups in sight.

Inside the dimly lit shop that was Nick’s Corner Store it smelled of floor wax and popcorn and the smoke from Nick’s cigar. There were shelves of canned goods and dried goods, shaving creams and shampoos, but to a child, the chocolate bars and bubble gum, popsicles, and licorice sticks were the main attractions. Best of all, in the back of the store, with a little light bulb glowing from above, was that arcade machine you fed a quarter to try your luck at retrieving a toy.

Sample responses to the lesson: • Ask students what all these showing details might be trying to “tell.” They might say:

– Nick’s Corner Store was like an amusement park.

– A child’s world is full of wonder.

• Note how you are asking students to invent their own sentences without using a sentence frame.

• Connect the idea of “telling” in their statements to statements of significance.

• Ask students how they came up with their telling statements—what details gave them their impressions. They might say:

– “Best of all was the machine you fed a quarter to try your luck at retrieving a toy”— shows how items in Nick’s store were like those in an amusement park.

– “Standing on my tip-toes and stretching my neck out the window”— shows how much the writer “is full of wonder.”

Guidelines for Modeling Feedback

P artner’s Chair: Modeling Feedback Model how to give positive, specific feedback to both the author and the partner as each presentation concludes.

First, comment on a partner’s feedback Compliment for:

• Serving as careful readers

• Isolating unforgettable details and how they show significance

• Suggesting effective words for capturing moods

Say something like:

“I like the way you noticed the lighting and how the gradual setting of the sun suggested a somber mood. ‘Somber’ is a great mood word to add to our list. I like how you’re making an inference from specific details. That’s what good readers do.”

Second, comment on the author’s writing Compliment for:

• Recalling specific details that “photograph” the setting

• Using inventive language (images, simile, metaphor, personification, precise words) that dramatizes a mood

Say something like:

“I agree with your response partner about how you described the lighting. You took your time to show the gradual loss of light and the lengthening of shadows. You zoomed in; you elaborated in slow motion. This makes me feel like something is going to change soon.”

Ask the writer a final question:

“If you were going to write an autobiographical or fictional narrative, how might you use the setting you developed? Is there an incident that takes place in this setting that you will always remember?”

Finally, invite all students to take a minute to respond to this question and record an associated incident, if they can think of one.

The Writer’s Toolkit: What to Do When You Think You Are Done

• Reread your work, and find a “telling sentence” that could be improved by more “showing.”

– Write the telling sentence as a new title for a notebook entry.

– Show the idea without using the telling sentence.

• Reread your work, and zoom in on a moment.

– Find an important moment to take your time with and “photograph.”

• Reread your work, and add a simile to a description.

– Think of a comparison to make for an important detail. “Something” is like “something else . . .”

• Reread your work, and add a setting where it could use one.

– Think of the mood you want to put readers into, and photograph the scene.

– Write a “then and now” setting, a town where you once lived compared to where you live now; your home compared to a grandparents’ home.

• Reread your work, and add natural-sounding dialogue between characters.

– Insert “natural-sounding” dialogue into a scene between characters.

– Mix native language and English, if talk like that is real.

• Rewrite a first-person narrative in third-person.

– Select a piece that might become a fictional narrative.

• Read your independent reading book, and “borrow” a new idea to try in your writing.

– Try something new, and volunteer for the author’s chair to see what others think.

• Consult “What Goes Into a Writer’s Notebook” and “Writing Ideas from Our Reading” for new writing ideas.

Features of a Good Story

This chart shows you the connections between the features of a good story and the possible writers’ strategies that might be used to create this feature.

Features Possible Strategies Situation is real, believable • Select real experiences that matter to you, incidents you want to remember Gets your attention at the • Repeated line beginning • A suspenseful conversation/dialogue • A setting that casts a mood • A character description • A line that makes you think Characters are real, believable, • Typical actions that demonstrate character traits interesting • Natural-sounding dialogue that shows interaction between characters Setting casts a mood • Zooming-in on details • Showing, not telling • Then compared to now Actions are suspenseful • Zooming-in on a moment • Showing, not telling Vivid details • Zooming-in on a moment • Showing, not telling • Use of similes Has a good ending • Concludes with something someone says (dialogue) • Concludes with a line that makes you think • Returns to something said at the beginning (then and now) Makes you think • May include a “statement of significance” that the reader will keep thinking about

Plot Structure

______

Situation changes ______

Problem Solution ______

______

Introduction Ending

Significance

______

Place the following academic language in the proper places on the graphic.

• Rising Action

• Falling Action

• Conflict

• Exposition

• Resolution/Denouement

• Theme

• Turning Point/Climax

Plot Structure (completed)

Situation changes Turning Point/ Climax

Rising Action Falling Action

Problem Solution

Conflict

Introduction Ending Exposition Resolution/ Denouement

Significance Theme

Reflection on a Quotation

A dvice from a Writing Teacher Did you ever sit around with a friend . . . and you start telling some story, and about halfway through you see your friend’s eyes light up because your story has just reminded him of a story. And then, he waits until you’re done so he can tell his story. And then his story reminds you of a story, and you try to hold on to it while you listen to him so you don’t forget the story you want to tell. It seems to me that conversations between friends, if you’re just hanging out and talking, tend to go like that . . . And pretty soon you have this line of about thirteen stories just waiting their turn to come out, like skydivers in their plane. I want to see if we can get some of that going in here today.

Time for Meaning: Crafting Literate Lives in Middle and High School (Randy Bomer 1995)

Reflection for Writer’s Notebook Why does Bomer tell his students this? What point is Bomer trying to make? Write a reflection in your Writer’s Notebook on this teacher’s advice to his students.

Plot Structure: Checklist

Parts of a Story Name of Student ______: Storyboard Exposition. How does the story establish the characters and situation?

Conflict. What is the main problem or challenge?

Rising Action. How does the plot move forward with further details?

Climax. What is the turning point or moment of highest interest—when things start to change or the conflict begins to resolve?

Falling Action. What happens after the climax?

Resolution/ Denouement. How does the story end? How do the parts “tie together”?

Rubric for a Narrative

Rubric for a Narrative 4 3 Criteria Bull’s Eye Almost Opening/ Exposition

Setting

Characters

Use of Details

Plot Structure and Organization

Ending/ Resolution

Sentence Variety

Conventions

Rubric for a Narrative

Rubric for a Narrative 2 1 Not Close Missed!

Rubric for a Narrative (completed)

Rubric for a Narrative 4 3 Criteria Bull’s Eye Almost Opening/ Lead establishes the situation and Lead introduces the situation with some Exposition engages reader’s attention. Readers want engaging details. to keep reading. Readers hear the writer’s “voice.”

Setting Setting establishes when and where the Setting offers some details about the time story takes place and creates a believable and place the story takes place; details world; setting casts a mood. are mostly facts.

Characters Major characters are interesting and Characters are described with some well-developed; readers can infer specific interesting details, but with fewer character traits from descriptions, actions narrative strategies. and dialogue.

Use of Details Details show a range of narrative Details are used throughout the story but strategies: zooming-in, sensory details, with fewer techniques. There are frequent show, not tell, magnified moments, “telling” details without showing. figurative language, imagery, actions, dialogue, typical talk, precise words. Plot Structure Plot has a specific conflict or challenge. Plot is generally clear, with some and Organization There is rising action, a climax (turning sequences less-developed. Pacing is point) falling action and a resolution. good, but somewhat unbalanced (some Important moments are magnified, and events happen too fast or too slowly). pacing is smooth. Transitions sequence Transitions move the plot forward. events and move the plot forward. Ending/ Ending is engaging and emphasizes Ending brings closure to the story with a Resolution significance; resolution makes the reader specific point or significance. Significance think. might be obvious.

Sentence Variety Sentences are of different lengths (long There is some sentence variety: simple, and short); writers use compound and compound and/or complex sentences; complex sentences; cumulative sentences some transitions. with verb clusters; transitions

Conventions Narrative is edited for proper Narrative is edited for correctness, paragraphing, capitalization, end- but there are some areas that are still punctuation, punctuation of dialogue, incorrect. The mistakes do not interfere punctuation of verb clusters, personal with understanding, but the work is not pronoun usage, consistent verb tense, as professional. and spelling.

Rubric for a Narrative (completed)

Rubric for a Narrative 2 1 Not Close Missed! Lead seems to explain (tell about) a No evidence of planning or revising for an situation more than using strategies to engaging lead. engage the reader.

Setting is stated, but has little impact on Setting is not mentioned. the story.

Characters are identified, but are not Characters are named but there is no made interesting. Character traits are not description. very evident.

The story is mostly “telling” without The story does not provide specific showing. details.

Plot is somewhat disorganized. Story may There is little sense of a logical beginning begin logically but lose its way; or, story middle and end. may begin confusingly, then picking up form. Writer may use some transitions.

Ending is there, but lacks significance (or Ending, is more a stopping place for the significance seems “tacked on”). story than a closing with significance or meaning.

There is little sentence variety. Sentences Sentences may be choppy or run on and seem the same with the same rhythm. on; sentences do not flow.

Errors are frequent and constantly Errors are so distracting, the reader interfere with a reader’s understanding. becomes frustrated because of having to reread to understand.

“Miss Sadie” by a student

1 Miss Sadie no longer sits in her rocking chair on her porch on summer days. But I still can see her. The old chair squeaking with every sway of her big, brown body. Her summer dresses stained from cooking in her sweet smelling kitchen. I see her gray hair pulled back in that awful, yellow banana clip. Most of all, I hear that voice. So full of character and wisdom.

2 I used to bring Miss Johnson cookies every summer day of 1988. I miss the days when I would sit on that shabby old porch and listen to her stories. “Melissa!” she would holler. “What ‘chu doin’ here? Come see me and my poor self, have ya?”

3 She once told me of her grandmother who escaped slavery, back when white men could only do anything, she would say. Her grandma ran for miles without food or water. It wasn’t too long before her master came looking for her and took her home to whip her. I thought of how Blacks are treated today. I sighed. She would sing in her soulful, blaring voice, old negro hymns passed down from her mother and grandmother. I would sit there in amazement.

4 Once, Jimmy Taylor came walking by us yelling, “Melissa! Whattaya want with that old, fat, Black lady, any ways?”

5 Before I could retaliate, Miss Johnson said to me, “Now, you musn’t. We must feel sorry for that terrible child. His mother must have done gone and not taught him no manners!” She actually wanted me to bow my head and pray for him. (Even though I went to his house and punched him out the next day.)

“Miss Sadie” (continued)

6 My friends would tease me for spending the whole summer with Sadie Johnson, “The cookoo of Connecticut,” they called her. But I’m so very glad I did. She taught me then, to not care what other people thought. I learned that I could be friends with someone generations apart from my own.

7 My visits became less frequent when school started. I had other things to think about. Boys, clothes, grades. You know, real important stuff.

8 One day I was thinking, I haven’t seen Miss Sadie in a while. So after school I trotted up to her house amidst the twirling, autumn leaves.

9 I rang her bell. The door cracked open and the woman adjusted her glasses. “May I help you?”

10 “Miss Sadie, it’s me, Melissa.”

11 “I–I,” she’d stuttered. “I don’t remember,” she said and shut the door. I heard crying. I rang the door again and she screamed, “Please leave!” in a scared, confused voice.

12 I went home bewildered and my mother told me to stop bothering Miss Sadie. I said I wasn’t bothering her. Mama said, “Miss Johnson has a disease. Alzheimer’s disease. It makes her forget things . . . people, family even. And so, I don’t want you over there anymore, you hear?” Then, I didn’t realize or comprehend, how someone so special to you could forget your own existence when you’d shared a summer so special and vivid in your mind.

13 That Christmas I went to bring Miss Johnson cookies. She wasn’t there. I learned from a family member that she was in the hospital and that she’d die very soon. As the woman, a daughter maybe, spoke, my heart broke.

“Miss Sadie” (continued)

14 “Well, you make sure she gets these cookies,” I said, my voice cracking and tears welling in my eyes.

15 Today, I’ve learned to love old people. For their innocence, for their knowledge. I’ve learned to always treat people with kindness, no matter how cruel they may seem. But mainly I’ve learned, that you must cherish the time spent with a person. And memories are very valuable. Because Miss Sadie no longer sits in her rocking chair on her porch on summer days. I’m glad that I can still see her.

Assessing a Narrative Using the Class Rubric

Title ______Author ______Why this score? Bonus! Criteria Score (Justification) Strategy writer uses 1 2 3 4 Opening/ Exposition

Setting

Characters

Use of Details

Plot Structure and Organization

Ending/ Resolution

S trategies for Great Leads (completed)

T ext and Great Leads Author’s Strategy Author “My Name” In English my name means hope. In Spanish • Begins with a definition that makes (Cisneros) it means too many letters. It means sadness, you think. it means waiting. • Uses a repeated line to emphasize different meanings for an important word. • Shows inner thoughts of a character.

“The Jacket” My clothes have failed me . . . When I needed • Begins with a summary statement to (Soto) a new jacket and my mother asked what kind suggest a theme and make you think. I wanted, I described something like bikers • Zooms in on an important moment to show wear: black leather and silver studs with conflict between too characters. enough belts to hold down a small town . . . The next day when I got home from school, • Zooms in on an important “image” I discovered draped on my bedpost a jacket (photographs the jacket); uses show, not the color of day-old guacamole. tell for details.

“Thank You, She was a large woman with a large purse • Uses a personal possession to symbolize M’am” that had everything in it but a hammer and an important character trait of the (Hughes) nails. It had a long strap, and she carried it main character. slung across her shoulder . . . • Zooms in on a moment to show conflict . . . a boy ran up to her and tried to snatch between two characters. her purse. The strap broke with the sudden single tug the boy gave it from behind. But the boy’s weight and the weight of the purse combined caused him to lose his balance . . . the boy fell on his back on the sidewalk and his legs flew up. The large woman simply turned around and kicked him right square in his blue-jeaned sitter. My Dog Skip The town where Old Skip and I grew up • Uses setting to establish time and place (Morris) together was an unhurried and isolated place and create a mood. then . . . • Uses “then and now” to show contrast. All of this was before the big supermarkets and shopping centers . . .

S trategies for Great Leads (completed)

T ext and Great Leads Author’s Strategy Author “Miss Sadie” Miss Sadie no longer sits in her rocking chair • Uses an opening line to introduce a (Student on her porch on summer days. But I still can character and make you think (Why is Miss writer) see her. The old chair squeaking with every Sadie no longer there?). sway of her big, brown body. Her summer • Uses wide-angle lens, then zoom lens to dresses stained from cooking in her sweet capture character details and create a smelling kitchen. I see her gray hair pulled strong image (like a photograph). back in that awful, yellow banana clip. Most of all, I hear that voice. So full of character and wisdom.

Lead from That was the autumn of cowboy cards. • Uses opening line to establish setting and literature make you think. anthology: • Uses a popular fad to identify time and (Sample) place of a specific era. “President Cleveland, Where Are You?” by Robert Cormier

Leads from independent reading

S trategies for Magnified Moments (completed)

Why does the T ext and Magnified Moment What is the author choose Author’s Author (Show, not tell) moment? this moment to Strategy magnify? “The Jacket” I put the jacket on. I zipped it up Gary Soto tries (Possible ideas): • Uses details (Soto) and down several times, and rolled on his new • To show how that show the cuffs up so they didn’t cover my jacket, which he tries to gestures: hands. I put my hands in the pockets his mother gave appreciate rolling up and flapped the jacket like a bird’s him, for the first his jacket, but cuffs, looking wings. I stood in front of the mirror, time. can’t over shoulder; full face, then profile, and then looked standing in over my shoulder as if someone had • To show/ front of mirror, called me. I sat on the bed, stood justify just full face, then against the bed, and combed my hair how ugly he profile will appear to to see what I would look like doing • Uses a simile something natural. I looked ugly. others in that jacket to show “ugliness”— flapped the jacket like a bird’s wings— or as a symbol for wanting to be “free”

“Thank You, The woman was sitting on the Mrs. Jones • To show how • Uses natural- M’am” daybed. After a while she said, “I shows her she knows sounding (Hughes) were young once and I wanted things understanding Roger better dialogue to I could not get.” for where than he thinks show details Roger might she does of Mrs. Jones’ There was another long pause. be coming past—I were The boy’s mouth opened. Then he from—why he young once, frowned, not knowing he frowned. might have tried etc. The woman said, “Um-hm! You to steal her • Uses facial thought I was going to say but, pocketbook. expressions didn’t you? You thought I was going to show to say, but I didn’t snatch people’s feelings—The pocketbooks. Well, I wasn’t going boy’s mouth to say that.” Pause. Silence. “I have opened. Then done things, too, which I would not he frowned, tell you, son—neither tell God, if He not knowing didn’t already know. Everybody’s got he frowned. something in common. So you set down while I fix us something to eat.” • Uses single words to show time passing— Pause. Silence.

S trategies for Magnified Moments (completed)

Why does the T ext and Magnified Moment What is the author choose Author’s Author (Show, not tell) moment? this moment to Strategy magnify? My Dog Skip Some of the streets were not paved, Morris shows • To show • Uses details (Morris) and the main street, stretching its the old what he most that show several blocks from the Dixie Theater fashioned, slow- misses about typical down to the bend in the river, was paced town he the way his streets—not narrow and plain, but down along once knew. town used paved, narrow the quiet, shady streets, with their to be and plain, magnolia and pecan and elm and quiet, shady; locust trees, were the stately old buildings— houses that had been built long Dixie Theater, before the Civil War . . . stately old houses built long before the Civil War; kinds of trees— magnolia, pecan, elm, and locust

“Miss Sadie” I rang her bell. The door cracked The writer • To show the • Uses dialogue (Student open and the woman adjusted her shows the writer’s shock between Miss writer) glasses. “May I help you?” moment when at how Miss Sadie and her: Miss Sadie Sadie does not “May I help “Miss Sadie, it’s me, Melissa.” reveals her recognize her you?” “Miss “I-I,” she’d stuttered. “I don’t disease. Sadie, it’s remember,” she said and shut the me, Melissa.” door. I heard crying. I rang the door “I-I,” she’d again and she screamed, “Please stuttered. leave!” in a scared, confused voice. “I don’t remember . . .” . . . and she screamed, “Please leave!” in a scared, confused voice.

Literature Anthology Selections

Independent Reading

Sentence Patterns for Cumulative Sentences

One remembers them from another time—playing handball in the playground, going to church, wondering if they were going to be promoted at school. - James Baldwin

I sensed a wrongness around me, like an alarm clock that had gone off without being set. - Maya Angelou

I did find work that afternoon, six houses nearly all in a row, all new with half- finished landscaping, all proud they had numbers on their curbs. - Gary Soto

Her hair was slicked against her head with a bun in the back, a proper married-lady hairdo. - Maxine Hong Kingston

I would like to baptize myself under a new name, a name more like the real me, the one nobody sees. - Sandra Cisneros

The houses were set out in a line under the soft green trees, their leaves rustling gently in the breeze. - Willie Morris

A moment later she was swimming back to the side of the pool, her head of short-clipped auburn hair held up straight ahead of her, as though it were a rose on a long stem. - Phillip Roth

On the corner a guy played the saxophone, the sound sliding into the darkness and echoing off the bricks. - Walter Dean Myers

Distinguishing Parts of Cumulative Sentences

Underline the base clause and put parentheses Number of around each addition in the sentence. Additions One remembers them from another time—playing handball in the playground, going to church, wondering if they were going to be promoted at school. - James Baldwin

I sensed a wrongness around me, like an alarm clock that had gone off without being set. - Maya Angelou

I did find work that afternoon, six houses nearly all in a row, all new with half-finished landscaping, all proud they had numbers on their curbs. - Gary Soto

Her hair was slicked against her head with a bun in the back, a proper married-lady hairdo. - Maxine Hong Kingston

I would like to baptize myself under a new name, a name more like the real me, the one nobody sees. - Sandra Cisneros

The houses were set out in a line under the soft green trees, their leaves rustling gently in the breeze. - Willie Morris

A moment later she was swimming back to the side of the pool, her head of short-clipped auburn hair held up straight ahead of her, as though it were a rose on a long stem. - Phillip Roth

On the corner a guy played the saxophone, the sound sliding into the darkness and echoing off the bricks. - Walter Dean Myers

Sentence Patterns for Verb Clusters

They were teenagers in the picture, grinning at the automatic camera they fed a quarter. - John Edgar Wideman

Byron started walking toward Momma in slow motion, sliding his feet on the linoleum. - Christopher Paul Curtis

Once in her mother’s lap she rested content all the way home, sucking her thumb, stroking her nose with the forefinger of the same hand, and kneading a corner of her blanket with the three fingers that were left. - Alice Walker

The faces of clouds were piled up, hurting. - Gary Soto

I climbed the fence, jumping down with a grunt. - Gary Soto

I sat down on an upturned plastic pail next to a stack of empty boxes, cupping my chin with my hands, thinking hard. - Amy Tan

In the classroom I sat back watching her graceful movements, admiring the translucent quality of her unblemished skin, wondering whether both her calm and her beauty were a gift from God, imagining myself in the medieval clothes of her nun’s habit. - Judith Ortiz Cofer

Distinguishing Verb Clusters

Underline the base clause and put parentheses around Number of each verb cluster addition in the sentence. Additions They were teenagers in the picture, grinning at the automatic camera they fed a quarter. - John Edgar Wideman

Byron started walking toward Momma in slow motion, sliding his feet on the linoleum. - Christopher Paul Curtis

The faces of clouds were piled up, hurting. - Gary Soto

I climbed the fence, jumping down with a grunt. - Gary Soto

I sat down on an upturned plastic pail next to a stack of empty boxes, cupping my chin with my hands, thinking hard. - Amy Tan

“All Summer in a Day” Excerpt by Ray Bradbury

1 “Ready?”

2 “Ready.”

3 “Now?”

4 “Soon.”

5 “Do the scientists really know? Will it happen today, will it?”

6 “Look, look; see for yourself.”

7 The children pressed to each other like so many roses, so many weeds, intermixed, peering out for a look at the hidden sun.

From “All Summer in a Day” by Ray Bradbury, Magazine of Fantasy and Fiction (Don Congdon Associates, 1954, renewed 1982). Reprinted with permission.

Placement of Dialogue in a Narrative (completed)

Opening/ Rising Climax/ Falling Ending/ Exposition Action Turning Point Action Denouement • To introduce • To show • To show the • To show how • To leave characters the build moment characters readers with a up between when things resolve a sense of how characters in change conflict characters are • To establish response to a between feeling a conflict or conflict characters, challenge for example, • To show how a new characters • To show how • To show how understanding respond to a one or more • To create individual solution characters suspense characters have changed deal with • To show the a conflict moment (“Thank You, (“All Summer (shows when a single M’am” and • To show how in a Day”) character character “Miss Sadie”) one or more traits) realizes characters something will move on new (“Thank You, M’am”) (“Thank You, (“Thank You, M’am”) M’am” and “Miss Sadie”)

S trategies for Great Endings

T ext and Ending Author’s Strategy Author “The Jacket” Finished, I went outside with my jacket (Soto) across my arm. It was a cold sky. The faces of clouds were piled up, hurting. I climbed the fence, jumping down with a grunt. I started up the alley and soon slipped into my jacket, that green ugly brother who breathed over my shoulder that day and ever since.

“Thank You, She led him down the hall to the front door M’am” and opened it. ‘Good night! Behave yourself, (Hughes) boy!’ she said, looking out into the street as he went down the steps.

The boy wanted to say something other than, “Thank you, M’am,” to Mrs. Luella Bates Washington Jones, but although his lips moved, he couldn’t even say that as he turned at the foot of the barren stoop and looked up at the large woman in the door. Then she shut the door.

“Miss Sadie” Today I’ve learned to love old people. For (Student their innocence, for their knowledge. I’ve writer) learned to always treat people with kindness, no matter how cruel they may seem. But mainly I’ve learned, that you must cherish the time spent with a person. And memories are very valuable. Because Miss Sadie no longer sits in her rocking chair on her porch on summer days. I’m glad that I can still see her.

S trategies for Great Endings (completed)

T ext and Ending Author’s Strategy Author “The Jacket” Finished, I went outside with my jacket • Ends with a final action. (Soto) across my arm. It was a cold sky. The faces of • Ends with a reflection (now that time has clouds were piled up, hurting. I climbed the passed, how I view the event) fence, jumping down with a grunt. I started up the alley and soon slipped into my jacket, • Repeats or echoes language used earlier in that green ugly brother who breathed over the story—“that green ugly brother.” my shoulder that day and ever since.

“Thank You, She led him down the hall to the front door • Ends with dialogue or what one character M’am” and opened it. ‘Good night! Behave yourself, says. (Hughes) boy!’ she said, looking out into the street as • Ends with revealing what the title of the he went down the steps. story means. The boy wanted to say something other • Ends with what a major character is than, “Thank you, M’am,” to Mrs. Luella thinking or feeling. Bates Washington Jones, but although his lips moved, he couldn’t even say that as he turned at the foot of the barren stoop and looked up at the large woman in the door. Then she shut the door.

“Miss Sadie” Today I’ve learned to love old people. For • Ends with “explicit” explanation of what (Student their innocence, for their knowledge. I’ve the writer has gained from her knowing writer) learned to always treat people with kindness, Miss Sadie. no matter how cruel they may seem. But • Ends using a circular ending in which mainly I’ve learned, that you must cherish the words stated in the lead, “Miss Sadie no time spent with a person. And memories are longer sits in her rocking chair on her porch very valuable. Because Miss Sadie no longer on summer days. But I still can see her.” sits in her rocking chair on her porch on are echoed. The reader understands why summer days. I’m glad that I can still see her. the writer “is glad she can still see her” because Miss Sadie’s influence has been powerful.

What to Do When Revising

Reread your draft • Think about your readers, your classmates, and responses they have given you about different strategies you have tried.

• Think about questions or confusions they have had.

• Turn to the rubric to get started with revision. Use strategies of good writers • Add a great lead that will engage the reader

• Magnify important moments, scenes, characters; use show, not tell.

• Delete information that might be boring or too “telling.”

• Insert verb cluster sentences for actions that describe—for sentence variety.

• Insert dialogue for opening, rising or falling action, climax, and/or ending.

• Move parts around to try a different plot structure.

• Take time with your ending to “make the reader think.” Technical Tips • Skip lines so there is room to insert new text (optional).

• Write on one side of the paper only.

• Do not erase—you may wish you had those words later.

• When using a computer, save all drafts.

S tatement by Gary Soto about Revision

On his web site, www.garysoto.com, Gary Soto gives this response to the question: When writing, do you revise?

“Yes, all writers revise and almost all writers have friends who look at his or her work. My first reader is my wife, poor thing. I bother her almost daily as I beg, ‘Carolyn, could you please look at this masterpiece?’”

Response Group Planner

S tep One: Getting Ready to Read Aloud • Remember your audience for your story—most likely, your classmates.

• Be prepared to tell your response group whether you have a different audience in mind.

• Reread your new draft to yourself, imagining how the story will sound to your response group. “Hear yourself reading aloud to your audience.”

S tep Two: Planning for Feedback • Decide which criteria on the Rubric for a Narrative are the strongest in your story. Place checks next to those you feel confident about on the rubric in your Student Reader Lesson 15.

S tep Three: Celebrate • Select one criterion you most want to celebrate, and prepare to tell your group why you feel successful. You may want to comment on a particular strategy that helped your writing.

Write notes for what you want to say in the planner. You might say:

– I [feel confident about] [meet the criterion for] ______because ______.

– I made a change that meets the criterion for ______. This is the strategy I used: ______.

S tep Four: Call for Feedback or Advice • Select one criterion you want feedback on or advice about, and prepare to ask your question. You may have tried a new strategy and want to know if others think it works. You may have an area of difficulty and want new ideas.

Write notes for what you want to ask in the planner notes.

– I tried a new strategy for this criterion: ______. Do you think it meets the standard?

– Can you help me think of a strategy for ______?

Response Group Planner Notes

Feel Need Rubric for a Notes to say to Ideas from my confident feedback or Narrative my response group response group about . . .* advice . . .** Opening/ Exposition

Setting

Characters

Use of Details

Plot Structure and Organization

Ending/ Resolution

Sentence Variety

* Check (✓) all that apply; circle one for celebrating. ** Check (✓) all that apply; circle one for asking advice.

What to Do When Editing

Reread your draft • Hear yourself reading the words.

• Pay attention to whether the piece makes sense.

• Make notes if you catch errors you have not noticed before, such as words left out, forgotten punctuation, spelling.

Proofread. Go back and reread for these ✓ Questions I have . . . conventions, one at a time. Completed Proper paragraphing: Have I separated into logical breaks?

Capitalization: Are there capital letters at the beginning of sentences?

Punctuation: Are there end-punctuation marks at ends of sentences?

Verb clusters: Are there complete base clauses; additions separated by commas or dashes?

Dialogue: Do I use proper capitals, punctuation, separate lines for different speakers?

First person and third-person pronouns: Do I keep point of view consistent? Have I switched from first to third person, or third person to first, accidentally?

Verb tense: Do I keep the same verb tense throughout my story? Do I switch from past to present, or present to past, accidentally?

Spelling: Have I checked for mistakes?

Writing a Narrative

This month’s topic for a chapter is called: “From Generation to Generation.”

Task. Write a narrative about a memorable incident involving family. Think of your story as a “must” to pass along to the next generation so that your own teenagers and their teenagers will value your experience and tell your story often.

Your moment should:

• Be of special interest to teens

• Provide details that bring the story alive

• Convey the importance of the story for the next generation

• Use your own unique voice

Scoring Guide

Narrative

Student’s Name: Student ID:

Read each of the statements below, and circle the number on the scale that most accurately reflects your assessment of the narrative.

4 = strong 3 = moderately strong 2 = somewhat weak 1 = weak

1. Lead engages the reader and establishes a situation. 4 3 2 1

2. A strong voice is evident. 4 3 2 1

3. Setting creates a believable world and casts a mood. 4 3 2 1

4. Characters are well developed. 4 3 2 1

5. Plot has logical arrangement of ideas and is skillfully paced; transitions 4 3 2 1 move the plot forward.

6. Details evidence a range of strategies: description, figurative language, 4 3 2 1 dialogue, and precise word choice.

7. Conclusion is satisfying, with implicit or explicit significance. 4 3 2 1

8. Sentences are varied with a variety of beginnings, structures, and lengths. 4 3 2 1

9. Narrative is composed with audience and purpose in mind. 4 3 2 1

10. Standard English conventions are controlled. Surface errors do not impede 4 3 2 1 understanding. English language learners may integrate native language expressions effectively.

Additional comments:

Publishing and Celebrating

Plan for a day or two of celebration and oral readings. At the least, students can take the author’s chair to read final drafts, with peers offering positive response, using language of the rubric.

Publishing Projects E ditorial Committee You may want to appoint an editorial committee to organize stories and publish a class anthology of narratives.

Or, time permitting, spend a day or two asking students to categorize the subjects of stories into themes so they have a hand in planning the publication—for example, stories about:

• Memorable places

• Memorable people

• Significant moments/turning points/lessons learned

• Language, gender, cultural differences

• Choices

• Victories

• Regrets

• Fiction

The editorial committee could be in charge of writing a table of contents and an introduction or forward to the anthology, commenting on the range of topics that inspired these stories.

Variation Another variation is to call for response groups to publish narratives in individual sections, with members collaborating on mini-introductions for their “section,” commenting on the range of topics and what they learned by working to support each other.

Classroom Blogs, Wikis, and Podcasts If you maintain a class wiki or website, you might plan for publishing and recording narratives online and organizing editorial committees to design host pages, links, and tags for accessing stories.

Students can respond to each other’s narratives by submitting comments.

Publishing and Celebrating

Resources for publishing online stories:

Kajder, Sara B. 2003. The tech-savvy English classroom. Portland, ME: Stenhouse Publishers.

Kajder, Sara B. 2006. Bringing the outside in: Visual ways to engage reluctant readers. Portland, ME: Stenhouse Publishers.

Richardson, Will. 2006. Blogs, wikis, podcasts, and other powerful web tools for classrooms. Thousand Oaks, CA: Corwin Press.

Digital Stories If you know how to produce digital video or slideshows, consider letting students transform their narratives into cinematic displays, using tools such as video, photographs, and audio clips.

P ost-Unit Reflection

Engaging Students in Self-Assessment • Once you have scored the narratives using the scoring guide, set aside a class period for returning the post-assessments along with the pre-assessments so students can compare performances.

• You may want students to self-assess performances before providing scores. Ask students to put pre- and post-assessment narratives side by side and, using the “Rubric for a Narrative,” take notes on the degree to which they believe they have met the standards.

• Ask for a show of hands.

– How many think they out-performed their pre-assessment writing?

– How many think their pre-assessment was the better of the two narratives?

• Engage discussion for how a pre-assessment might have out-performed a post-assessment. Responses might be:

– The topic was of greater interest.

– Students might be tired of “writing stories.”

– Students do not necessarily show their best work in on-demand situations.

• Ask students to create a new page in their Writers Notebooks for “Achievement and Goals” for producing effective narratives. Students should:

– Jot down one or two significant achievements

– One or two writing goals

Open Mike (Microphone) • Conclude the lesson by inviting students to take the mike to share thoughts on their pre- and post-assessment achievement.

• Urge students to read excerpts from narratives that illustrate growth.

• Urge students to share writing goals.

• Ask students to file their pre- and post-assessments along with their end-of-study projects in a file or portfolio, and congratulate them again for such dedicated work.

Reading Standards for Informational Text, Grade 6 Key Ideas and Details Craft and Structure RI.6.1. Cite textual RI.6.2. Determine RI.6.3. Analyze in RI.6.4. Determine RI.6.5. Analyze evidence to a central idea of detail how a key the meaning how a particular support analysis of a text and how individual, event, or of words and sentence, what the text says it is conveyed idea is introduced, phrases as they paragraph, chapter, explicitly as well as through particular illustrated, and are used in a text, or section fits inferences drawn details; provide a elaborated in a including figurative, into the overall from the text. summary of the text (e.g., through connotative, and structure of a text text distinct from examples or technical meanings and contributes to personal opinions anecdotes). the development of L esson or judgments. the ideas. 1 2 3 ■ ■ ■ ■ ■ 4 ■ ■ ■ ■ ■ 5 ■ ■ ■ ■ ■ 6 ■ ■ ■ ■ ■ 7 8 9 ■ ■ ■ ■ ■ 10 ■ ■ ■ ■ ■ 11 12 ■ ■ ■ ■ ■ 13 14 15 16 17 18 19 ■ ■ ■ ■ ■ 20 21 22 23 24 25 26 27

Reading Standards for Informational Text, Grade 6 Integration of Knowledge Range of Reading and and Ideas Level of Text Complexity RI.6.7. Integrate information RI.6.10. By the end of the presented in different media year, read and comprehend or formats (e.g., visually, literary nonfiction in the quantitatively) as well grades 6-8 text complexity as in words to develop a band proficiently, with coherent understanding of scaffolding as needed at a topic or issue. the high end of the range.

L esson 1 2 3 ■ ■ 4 ■ ■ 5 ■ ■ 6 ■ ■ 7 8 9 ■ ■ 10 ■ ■ 11 12 ■ ■ 13 14 15 16 17 18 19 ■ ■ 20 21 22 23 24 25 26 27

Writing Standards, Grade 6 Text Types and Purposes W.6.2. Write informative/explanatory texts to W.6.3. Write narratives to develop real or imagined examine a topic and convey ideas, concepts, experiences or events using effective technique, and information through the selection, relevant descriptive details, and well-structured event organization, and analysis of relevant content. sequences.

W.6.2.a. Introduce W.6.2.b. Develop W.6.3.a. Engage W.6.3.b. Use W.6.3.d. Use a topic; organize the topic with and orient narrative precise words ideas, concepts, and relevant facts, the reader by techniques, and phrases, information, using definitions, establishing such as relevant strategies such as concrete details, a context and dialogue, descriptive definition, classification, quotations, or introducing a pacing, and details, and comparison/contrast, other information narrator and/ description, sensory and cause/effect; and examples. or characters; to develop language include formatting organize an event experiences, to convey (e.g., headings), sequence that events, and/or experiences and graphics (e.g., charts, unfolds naturally characters. events. tables), and multimedia and logically. when useful to aiding comprehension. L esson 1 2 3 ■ ■ ■ ■ 4 ■ ■ ■ ■ 5 ■ ■ ■ ■ 6 ■ ■ ■ ■ 7 ■ ■ ■ ■ 8 ■ ■ ■ ■ ■ 9 ■ 10 ■ ■ ■ ■ 11 ■ ■ ■ ■ ■ 12 13 ■ ■ ■ ■ 14 ■ ■ ■ ■ 15 ■ ■ ■ ■ 16 ■ ■ ■ ■ 17 ■ ■ ■ ■ 18 ■ ■ ■ ■ 19 ■ ■ 20 ■ 21 ■ ■ 22 ■ ■ ■ 23 ■ ■ 24 ■ ■ 25 ■ ■ 26 ■ ■ 27 ■ ■

Writing Standards, Grade 6 Research to Build and Production and Distribution of Writing Range of Writing Present Knowledge W.6.4. Produce W.6.5. With W.6.6. Use W.6.9. Draw evidence W.6.10. Write clear and some guidance technology, from literary or routinely over coherent and support including the informational texts extended time writing in from peers and Internet, to to support analysis, frames (time which the adults, develop produce and reflection, and research. for research, development, and strengthen publish writing as reflection, and organization, writing as well as to interact revision) and and style are needed by and collaborate W.6.9.b. Apply grade shorter time appropriate to planning, with others; 6 reading standards to frames (a single task, purpose, revising, editing, demonstrate literary nonfiction (e.g., sitting or a day or and audience. rewriting, or sufficient ‘’Trace and evaluate two) for a range of trying a new command of the argument and discipline-specific approach. keyboarding specific claims in a text, tasks, purposes, skills to type a distinguishing claims and audiences. minimum of three that are supported by pages in a single reasons and evidence sitting. from claims that are not’’). L esson 1 2 ■ ■ ■ ■ 3 ■ ■ ■ ■ ■ 4 ■ ■ 5 ■ ■ ■ ■ ■ 6 ■ ■ ■ ■ ■ 7 ■ ■ ■ ■ 8 ■ ■ ■ ■ ■ 9 ■ ■ ■ ■ ■ 10 ■ ■ 11 ■ ■ ■ ■ 12 ■ ■ ■ ■ 13 ■ ■ ■ ■ 14 ■ ■ ■ ■ 15 ■ ■ ■ ■ ■ 16 ■ ■ ■ ■ 17 ■ ■ ■ ■ 18 ■ ■ ■ ■ 19 ■ ■ ■ ■ ■ 20 ■ 21 ■ ■ ■ ■ 22 ■ ■ ■ ■ 23 ■ ■ ■ ■ 24 ■ ■ ■ ■ 25 ■ ■ ■ ■ 26 ■ ■ ■ ■ 27 ■ ■ ■ ■

Speaking and Listening Standards, Grade 6

Presentation of C omprehension and Collaboration Knowledge and Ideas

SL.6.1. Engage effectively in a range of collaborative discussions (one-on-one, SSL.6.6. Adapt in groups, and teacher-led) with diverse partners on grade 6 topics, texts, and speech to a variety issues, building on others’ ideas and expressing their own clearly. of contexts and tasks, demonstrating SL.6.1.a. Come to SL.6.1.b. Follow rules for SL.6.1.c. Pose and command of formal discussions prepared, collegial discussions, respond to specific English when indicated having read or studied set specific goals and questions with or appropriate. required material; deadlines, and define elaboration and detail explicitly draw on that individual roles as by making comments preparation by referring needed. that contribute to the to evidence on the topic, text, or issue topic, text, or issue to under discussion. probe and reflect on Lesson ideas under discussion. 1 ■ ■ ■ ■ 2 ■ ■ ■ ■ 3 ■ ■ ■ ■ 4 ■ ■ ■ ■ 5 ■ ■ ■ ■ 6 ■ ■ ■ ■ 7 ■ ■ ■ ■ 8 ■ ■ ■ ■ 9 ■ ■ ■ ■ 10 ■ ■ ■ ■ 11 ■ ■ ■ ■ 12 ■ ■ ■ ■ 13 ■ ■ ■ ■ 14 ■ ■ ■ ■ 15 ■ ■ ■ ■ 16 ■ ■ ■ ■ 17 ■ ■ ■ ■ 18 ■ ■ ■ ■ 19 ■ ■ ■ ■ 20 ■ ■ ■ ■ 21 ■ ■ ■ ■ 22 ■ ■ ■ ■ 23 ■ ■ ■ ■ 24 ■ ■ ■ ■ 25 ■ ■ ■ ■ 26 ■ ■ ■ ■ 27 ■ ■ ■ ■

Language Standards, Grade 6 Conventions of Standard English L.6.1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

L.6.1.a. Ensure L.6.1.b. Use L.6.1.c. Recognize and L.6.1.d. L.6.1.e. Recognize that pronouns intensive correct inappropriate Recognize and variations from are in the proper pronouns shifts in pronoun correct vague standard English case (subjective, (e.g., myself, number and person. pronouns (i.e., in their own and objective, ourselves). ones with others’ writing possessive). unclear or and speaking, ambiguous and identify and antecedents). use strategies to improve expression in conventional language. Lesson 1 2 3 4 5 6 ■ ■ ■ ■ 7 8 9 10 11 12 13 14 15 ■ ■ ■ 16 ■ ■ ■ 17 ■ ■ ■ 18 19 20 21 22 ■ 23 24 25 26 27 ■ ■ ■ ■ ■

Language Standards, Grade 6 Conventions of Knowledge of Vocabulary Acquisition and Use Standard English Language L.6.2. Demonstrate L.6.3. Use L.6.4. Determine or clarify the L.6.6. Acquire command of the conventions knowledge of meaning of unknown and multiple- and use of standard English language and meaning words and phrases based on accurately grade- capitalization, punctuation, its conventions grade 6 reading and content, choosing appropriate and spelling when writing. when writing, flexibly from a range of strategies. general speaking, academic and reading, or domain-specific listening. words and L.6.2.a. Use L.6.2.b. L.6.3.a. Vary L.6.4.a. Use L.6.4.d. Verify phrases; gather punctuation Spell sentence context (e.g., the the preliminary vocabulary (commas, correctly patterns for overall meaning determination knowledge when parentheses, meaning, of a sentence or of the meaning considering a dashes) reader/listener paragraph; a word’s of a word or word or phrase to set off interest, and position or function phrase (e.g., important to nonrestrictive / style. in a sentence) as a by checking comprehension parenthetical clue to the meaning the inferred or expression. elements. of a word or phrase. meaning in context or in a Lesson dictionary). 1 2 ■ ■ ■ 3 ■ ■ ■ 4 ■ ■ ■ 5 ■ ■ ■ ■ 6 ■ ■ ■ 7 8 ■ ■ ■ 9 ■ ■ ■ 10 ■ ■ ■ ■ 11 12 ■ ■ ■ 13 14 15 ■ ■ ■ ■ ■ ■ 16 ■ ■ ■ 17 ■ ■ ■ 18 19 ■ ■ ■ 20 ■ ■ 21 ■ 22 ■ 23 24 ■ ■ 25 ■ ■ 26 27 ■