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The Writer's Toolkit: Strategies for Writing Narratives in the New Media

Overt Instruction Updates

Learning Module

  • Creator(s): Rita van Haren
  • Publisher: Literacies Learning Module Projects

Abstract

This Learning Module consists of a comprehensive range of strategies for writing, with a particular focus on writing narratives in the new, digital media. Each ‘overt instruction update’ is presented as a focused mini-lesson that can be delivered as an update through the Community area of Scholar. Every one of these overt instruction updates is also to be found in one of the Learning Modules in the Scholar Literacies Learning Modules in the Bookstore.The purpose of this Writer’s Toolkit is so that teachers can use these instructional updates as and when needed by their students.

Keywords

Narratives, Event Sequences, Transitions, Orientation, Complication, Evaluation, Resolution, Characterization, Figures of Speech.

NARRATIVES

Contents

Author's Purpose

Characterization: Developing the Main Character

Characterization: Noun Groups

Characterization: Positioning an Audience

Characterization:Showing versus Telling

Figures of Speech: Similes and Metaphors

Five Word Stories

Grammatical Choices in Descriptions

Mood in Narratives

Narrative Brainstorming

Pacing in Narratives

Point of View

Sequencing Events and Experiences in Narratives

Structure of Narratives 1

Structure of Narratives 2

Narrative Structure Survey: The Lion and the Mouse

Transitions in Narrative

Vocabulary and Spelling

Author's Purpose

For the Student

Learning Intention: To understand how coda and language choices communicate author’s purpose.

With a partner, discuss what you think is the author’s purpose in The Bike. As well as entertaining us, Gary Soto communicates his purpose through the moral or coda. What do you think the coda of the story is?

Look back the The Bike and make a list of the words and phrases which the author has included to foreground this coda. For example, the first sentence of the story sets the tone of the story with words with negative connotations such as ‘nowhere’ and ‘shadow’ and foreshadows the conclusion. In the second paragraph, note words and phrases such as ‘hungry dogs’ and ‘red anger lived in their eyes’.

What other words and phrases can you identify in The Bike that foreshadow the conclusion?

Also identify the sensory language the author uses, especially when the boy rides over his leg. These are deliberately chosen by the author to prepare the reader for the coda.

Comment: Share some ideas for words and phrases that you will include in your narrative and how they will prepare the reader for your conclusion. Comment on the posts of 1-2 other students, building on their ideas.

For the Teacher

In this update students understand author’s purpose and the choices they can as writers make to position their audience and prepare them for the resolution of their narratives. Words with negative connotations are deliberately chosen by the author to prepare the reader for the conclusion and to foreshadow the coda. This Overt Instruction Update uses The Bike by Gary Soto which may be substituted by another text.

Publishing details: Soto, G. (1990). A Summer Life. New York: Laurel-Leaf Books.

It may be downloaded from Amazon as an ebook. The complete text is available on the web at sites such as ebookbrowse and many other sites.

This Overt Instruction Update occurs in:

  • Tell Me a Story: A Narrative about Real or Imagined Experiences or Events

CCSS Focus

R.7.4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings.

W.7.3d: Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

W.7.3e: Provide a conclusion that follows from reflects on the narrated experiences or events.

Characterization: Developing the Main Character

For the Student

Learning Intention: To understand how to develop a character in a narrative by showing how they react to events and experiences.

Writers develop their characters by showing how they react to experiences and events. Read The Ugly Duckling by Hans Christian Anderson. Think about how the Ugly Duckling responds to events and experiences on his journey, and what this tells the reader about his character and how it develops. Complete the third column. There are suggestions that you can select from.

The Ugly Duckling by Hans Christian Anderson
Event/Experience How the Ugly Duckling reacts What this tells the reader about his character
The mother duck says he is strong. He jumps into the pond and swims, following the mother duck and the other ducklings. He is confident to swim in the pond.
The other ducks in the farm duckyard criticize him and bite him on the neck. He becomes really miserable and doesn't know what to do.
He is teased, pecked and kicked by others. The little birds in the bushes fly away and a fierce-looking dog ignores him. He runs away through the hedge and sleeps in a swamp.
The cat calls him useless. He sits in a corner.
He has a strong desire to swim. He tells the cat who says it is a stupid idea but he still decides to go.
He sees the swans in a pond. He becomes sad but decides to go closer to look at them.
The swans swim towards him and stroke him with their beaks. He hides his head under the water and sees that he has grown into a swan.
The children say he is the best and most beautiful swan and the other swans bow before him. He hides his head under his wing and remembers how he has been treated by others.
The Ugly Duckling - Character Development Chart

Look at the third column and see how the Ugly Duckling's character developed from being confident, then very unhappy and then he became confident and brave. He is still a little unsure of himself when he thinks the swans will attack him but becomes happy when he is shown respect and love. He has learned not to be proud through his experiences of being bullied.

Now complete the chart for the main character in your narrative. Once you have completed it, add more details to your narrative in Creator.

Character Development Chart

Comment: How does Hans Christian Anderson show the reader that the other ducks in the duckyard are cruel? Find other examples of the author "showing rather than telling" the reader about the characters and add them to the comments. You can also comment on other students' comments.

For the Teacher

This activity includes overt instruction about "showing rather than telling" in describing and developing characters. The students complete the example from The Ugly Duckling and then complete a chart based on their own narrative.

Students can work with a partner to discuss which response best describes the reactions of the Ugly Duckling. The discussion is important to scaffold thinking and to encourage students to find evidence in the text. Each student should complete the chart either electronically or hand written. For accountability, students may be required to submit the completed charts to the teacher through Submissions in Community. The second chart will be a useful reference as students develop their narratives in Creator.

This Overt Instruction Update occurs in:

  • A Journey: A Narrative about Real or Imagined Experiences or Events

CCSS Focus

RL.4.3: Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g.' a character's thoughts, words, or actions).

RL.6.3: Describe how a particular story's or drama's plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves toward a resolution.

RL.8.3: Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision.

W.4.3b: Use dialogue and description to develop experiences and events and show the responses of characters to situations.

W.5.3b: Use narrative techniques such as dialogue, description, and pacing, to develop experiences and events or show the responses of characters to situations.

W.6/7.3b: Use narrative techniques such as dialogue, pacing, and description, to develop experiences, events and/or characters.

W.8.3b: Use narrative techniques such as dialogue, pacing, description, and reflection, to develop experiences, events and/or characters.

Characterization: Noun Groups

For the Student

Learning Intention: To demonstrate my understanding of the characters in the novel, The Hunger Games, through specific vocabulary and evidence.

To think more deeply about the characters, play the 'Nail that Character' game. Use the grid to record the words.

grid_-_hunger_games_game.doc
Katniss Gale Peeta Haymitch

Find specific words to describe four of the main characters, for example Katniss, Gale, Peeta and Haymitch.

At the end of the game, create a chart of the vocabulary that describes the main characters. Then find supporting evidence from the text.These should include quotes and page references.

Katniss Peeta Gale Haymitch
Trait Impulsive Strategic
Evidence Without thinking I pull an arrow from my quiver...p124 Save showing what you're best at until your private sessions. p.112

Specificity

Describing characters using specific words and finding evidence for the words you select is an important way of addressing specificity, allowing you to make your writing interesting and your meanings clear and precise.

Comment: Using some of the vocabulary and evidence you have found, write 3-5 sentences describing one of the characters. Then comment on other students' paragraphs, suggesting more specific words so that the meaning is clear and precise.

For the Teacher

This activity can be adapted to any text.

Purpose

'Nail that Character' is an excellent activity to develop students' vocabulary in a competitive and interesting way. It is a comprehension strategy which encourages and supports students to read and re-read the text closely by providing a clear purpose for reading. The vocabulary generated by this game, and the reasons given for their inclusion, will enable students to be very specific about how they describe characters and help them to develop an understanding of specificity.

Teaching Tips

While students are still completing their reading, break up the lessons by looking at characterisation. The 'Nail that Character' guide in MyRead provides detailed teaching tips to implement this strategy. On the navigation bar go to 'How' and scroll down. Make dictionaries and thesauruses available to students or they could use a thesaurus on a computer.

As students explore vocabulary to describe characters, encourage them to be very specific about the words they select. Finding evidence to support the words they select will enable them to justify/explain just how precise they are.

CCSS Focus

RL.9-10.4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

SL.9-10.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

L.9-10.4c: Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, or its etymology.

Characterization: Positioning an Audience

For the Student

Learning Intention: To understand how particular words can affect how readers think about a character.

Look at this list of words to describe Katniss in The Hunger Games. Sort them into a table of words that have positive connotations and words that have negative connotations. Be careful as words may be both positive and negative.

Positive-Negative.docx

Impulsive/Impetuous

Stubborn/Resolute

Loyal/Steadfast

Strong/Stalwart

Distrustful/Sceptical

Independent/Self-reliant

Disdainful/Aloof

Proud/Egotistical

Decent/Principled

Determined/Ruthless

Positive Negative

Character Description of Katniss

Use a thesaurus to help you define any words you are unsure of. Then with a partner, decide on which column you will focus on. Your partner should do the other one. Then each person should write a short paragraph describing Katniss, using evidence from the novel to support your description.

Comment: Post your paragraph. Read the paragraphs of other students. What was your attitude to Katniss after reading the positive ones? What about the negative ones? Also comment on the effect if a writer used a combination of positive and negative words. How can selecting specific words enable you to position an audience to think about a character in a particular way?

For the Teacher

Specificity and Positioning an Audience

Purpose

In this activity the focus is on critical literacy. Its purpose is to develop an understanding in students that they can select words to position an audience to think positively or negatively about a character. This is important to making linguistic choices in their own writing. It will also scaffold descriptive writing and writing essays/expository texts dealing with characterisation.

Teaching Tips

Refer to Youtube clips in Activity 1, particularly how the participants in the Survivor and Big Brother clips introduced themselves as good or evil.

Provide some examples of synonyms for words that students selected in 'Nail That Character'. They could focus on Katniss or as an extension, they develop their own list of synonyms to describe another character.

Use the examples about Katniss to prompt students to consider how some words are more specific as well as important to position an audience to think positively or negatively about a character.

Ensure student agency by allowing students to collaborate and select the perspective - positive or negative - to write about. The reflection in the Comment is essential for metacognition.

CCSS Focus

RL.9-10.4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

SL.9-10.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

L.9-10.4c: Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, or its etymology.

L.9-10.3: Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

L.9-10.5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

L.9-10.5a: Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text.

L.9-10.5b: Analyze nuances in the meaning of words with similar denotations.

L.9-10.6: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Characterization: Showing versus Telling

For the Student

Learning Intention: To understand how an author can use description to reveal characterization.

Without description, a narrative may be just a sequence of events and experiences. An author can reveal a character and their point of view by describing what the character thinks, says and does, and how a character responds to:

  • particular lines of dialogue
  • incidents in a story
  • what other characters say and do

Read the following excerpt from a narrative. With a partner, discuss which words and sentences tell the reader that the main character is:

  • Nervous and hopeful
  • Shocked
  • Intimidated and unconfident yet determined

Note how the writer shows aspects of the character's development rather than telling. The reader has to infer the aspect of the main character based on his reactions to incidents in the narrative.

Against All Odds

We moved into the auditorium and took our seats. I looked around at the faces of the other competitors, sensing their self-assurance and confidence. I didn't belong here. I had got to this position against all odds, driven to work hard by the need to make a future for myself.

I had got his far.......maybe, just maybe. Any hope evaporated as the judge stepped up to the dais. He adjusted the microphone and cleared his throat before detailing each entry and its merits. My mother pressed my hand but I could not make eye contact with her, keeping my gaze fixed on the judge.

Finally, he took a deep breath, and said, "And the winner is..........." The realization that I had won was not immediate. I did not hear my name. All I heard were shrieks and applause, accompanied by pats on the back, suffocating hugs from my mother, and then being pushed towards the stage to accept my award.

Incident in the story Reaction of the main character What aspects of the main character are revealed
The narrator looks around the room at the faces of the other competitors and reflects on his background He senses the confidence of the other competitors and feels out of place
The judge steps up to the dais and discusses each entry He can't make eye contact with his mother and stares at the judge
The narrator is announced as the winner He doesn’t hear who won and has to be pushed to the stage

Comment: How can you make a character more interesting? Why do you think it is important to "show" rather then 'tell' when describing a character? Comment on the comment of at least one other student by building on their ideas or asking a question.

For the Teacher

In this activity, students reflect on a short excerpt from a narrative in order to understand how they can make their writing more descriptive by asking the reader to infer characterization. Using description is also important to develop the point of view of the character.

Encourage students to add more words such as "intimidated" to their "Interesting Word FIles".

The answers are provided so that students just need to add them to the third column. This may be done individually or through discussion with a partner or in a small group. Rather then completing a chart, the students can discuss their responses with a partner.

Incident in the story Reaction of the main character What aspects of the main character are revealed
The narrator looks around the room at the faces of the other competitors and reflects on his background He senses the confidence of the other competitors and feels out of place Intimidated and unconfident yet determined
The judge steps up to the dais and discusses each entry He can't make eye contact with his mother and stares at the judge Nervous and hopeful
The narrator is announced as the winner He doesn’t hear who won and has to be pushed to the stage Shocked

CCSS Focus

RL.6.6: Explain how an author develops the point of view of the narrator or speaker in a text.

RL.7.6: Analyze how an author develops and contrasts the points of view of different characters or narrators in a text.

RL.8.5: Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision.

W.6/7.3b: Use narrative techniques, such as dialogue, pacing, and description, to develop, experiences, events, and/or characters.

W.8.3b: Use narrative techniques, such as dialogue, pacing, description, and reflection, to develop, experiences, events, and/or characters.

Figures of Speech: Similes and Metaphors

For the Student

Learning Intention: To understand how similes and metaphors use sensory language and make your writing more descriptive.

In The Bike, Gary Soto uses similes and metaphors to make his writing more descriptive. Here are some examples of similes in The Bike.

  • like a bean plant rising from earth
  • flaked like wood shavings

Here are some examples of metaphors in The Bike.

  • red anger lived in their eyes
  • bucket of bolts

Metaphors and similes are called figures of speech. A simile uses a direct comparison using words such as like and as.

  • Life is like a journey.
  • The boy was as strong as an ox.
  • My teacher is like a walking encyclopedia.

A metaphor is also a comparison but it states that two things are the same in some interesting ways, even though they might appear very different. The comparison is stronger in a metaphor.

  • Life is a journey with many pathways.
  • The boy was an ox.
  • My teacher is a walking encyclopedia.

With a partner, discuss what each of these similes and metaphors mean.

Some similes and metaphors are overused and can make your writing boring and predictable. Similes such as ‘As strong as an ox’ or ‘as busy as a bee’ are predictable and referred to as clichés. Note how Gary Soto’s similes and metaphors are precise, original and unexpected.

Many images are metaphors. Look at the images below. The first one is of two bridges. These bridges could be interpreted as metaphors for connections or communication as the bridges connect places and people and enable communication. What else could they be a metaphor for? Choose one or two of the other images, and with your partner, discuss how you interpret the metaphors.

Bridges
Hand
Lecture Theatre
Light

Soto’s metaphors and similes use sensory language. We can visualize them or we can hear or feel what they are suggesting. For example, you can almost hear the noisy bike and sense how ferocious the dogs are. With a partner find more similes and metaphors in The Bike. Discuss which ones appeal to our senses and what Gary Soto is suggesting in each one. Then, brainstorm some similes and metaphors that you might use in your narrative to make your writing more descriptive and interesting.

Comment: Metaphors are also common in advertising. Use key words of ‘metaphors’ and ‘advertising’ in an internet search and find some visual metaphors. Post a link in community and explain your metaphor for the image. Comment on the comments of 1-2 other students.

For the Teacher

Writing narrative can help students to learn literary techniques more deeply. For instance, while students might learn the definition of a simile while reading a class-assigned novel, narrative writing presents an opportunity for students to create their own similes and to see these figures of speech as integral to the creation of meaning.

In this activity students explore figures of speech in context by annotating The Bike by Gary Soto. They may annotate a printed version of the model text, labelling, highlighting and underlining the figures of speech, and referring to their annotations in their discussions.

They also deepen their understanding of metaphors by analyzing visual metaphors, and then finding and posting links to visual metaphors they discover on the internet.

This Overt Instruction Update uses The Bike by Gary Soto which may be substituted by another text.

Publishing details: Soto, G. (1990). A Summer Life. New York: Laurel-Leaf Books.

It may be downloaded from Amazon as an ebook. The complete text is available on the web at sites such as ebookbrowse and many other sites.

This Overt Instruction Update occurs in:

  • Tell Me a Story:  Narrative about Real or Imagined Experiences or Events

CCSS Focus

W.7.3d: Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

L.7.5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

L.7.5a: Interpret figures of speech in context.

Five Word Stories

For the Student

Learning Intention: To write a five word narrative and collaborate through discussion.

Here are some five word narratives that tell a story about unforgettable experiences or events.

  • Bonfire. Out of control. Firemen.
  • Rode bicycle to school; hospital.
  • Toothache. Dentist chair. Smiling again.
  • School over; Disneyworld and fun.
  • Hello little brother; goodbye peace.

With a partner, discuss at least two of the five word narratives. Can you guess some of the information that is missing? What questions would you have to find out more about what happened? Note that you can use periods and semi-colons in a five word narrative.

Comment: Now write your own five word narrative about an unforgettable experience or event. It must be exactly five words. Post it to Community. Then comment on other students' narratives by asking them questions about the event or experience. Also respond to students who ask you questions.

For the Teacher

In this activity students start brainstorming possible topics for their narratives. Students may elaborate on these when they learn about sequencing events and when they start their writing projects.

This activity also focuses on building students' confidence to post in Community and to engage in online discussion with their peers. This knowledge sharing may stimulate topics and ideas for students to add to their narratives.

This Overt Instruction Update occurs in:

  • A Narrative about an Unforgettable Experience or Event

CCSS Focus

SL.4/5/6/7/8.1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4/5/6/7/8 topics and texts, building on others’ ideas and expressing their own clearly.

SL.4.1c: Pose and respond to specific questions to clarify or follow upon information, and make comments that contribute to the discussion and link to the remarks of others.

SL.5.1c: Pose and respond to specific questions by making comments that contribute to the discussion and elaborate on the remarks of others.

SL.6.1c: Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.

SL.7.1c: Pose questions that elicit elaboration and respond to others' questions and comments with relevant observations and ideas that bring the discussion back on topic as needed.

SL.8.1c: Pose questions that connect the ideas of several speakers and respond to others' questions and comments with relevant evidence, observations and ideas.

Grammatical Choices in Descriptions

For the Student

Learning Intention: To understand how to write complex sentences to describe characters.

This section, based on The Hunger Games, is about describing characters based on the following models of extended noun groups about Flickerman and the tribute from District 1. This comes from pp 150-151 (Scholastic edition). It will help you to make your writing more interesting by writing complex sentences.

To help you understand noun groups we will expand a noun group.

Draw a large triangle on a page. Start by writing the first word at the top, inside the triangle. Then write two words underneath it and so on until you write the full sentence at the bottom of the triangle.

1. Write down 1 word: SUIT (who or what).

2. Write down 2 words: The SUIT (a, the, those, these).

3. Write down 3 words: THE MIDNIGHT BLUE SUIT (factual adjective).

4. Write down 4 words: THE UGLY MIDNIGHT BLUE SUIT (opinion adjective).

5. Write down 5 words: THE UGLY MIDNIGHT BLUE CEREMONIAL SUIT (classifying/type adjective).

6. THE UGLY MIDNIGHT BLUE CEREMONIAL SUIT WITH A THOUSAND TINY ELECTRIC BULBS (add an adjectival phrase).

7. THE UGLY MIDNIGHT BLUE CEREMONIAL SUIT WITH A THOUSAND TINY ELECTRIC BULBS THAT TWINKLE LIKE STARS (add an adjectival clause).

8. THE UGLY MIDNIGHT BLUE CEREMONIAL SUIT WITH A THOUSAND TINY ELECTRIC BULBS THAT TWINKLE LIKE STARS MADE FLICKERMAN LOOK FREAKISH (add rest of sentence).

Now repeat this activity in a triangle for the girl from District 1. Now look at the same ideas in a table so you can see it as a sentence.

Opinion Factual Classifying NOUN Adjectival Phrase Adjectival Clause Rest of sentence
THE ugly midnight blue ceremonial SUIT with a thousand tiny electric bulbs that twinkle like stars MADE FLICKERMAN LOOK FREAKISH.
A provocative looking tall teenage GIRL with flowing blonde hair and emerald green eyes who came from District 1 WAS A SURE WINNER.

Now practice writing your own sentences with extended noun groups about a character in the novel. Work with a partner and see how many you can write in a set time limit.

Comment: Share your best sentence. Then read other students' sentences and comment on the best ones and what makes them effective.

For the Teacher

Purpose

The purpose of this activity is for students to understand that writers make deliberate choices in their writing to achieve specific purposes, e.g. descriptive writing. This will support students when making choices in their character descriptions in the multimedia project. The Update could serve as a model for descriptive sentences in other texts.

Teaching Tips

Noun Group Activity

In the activity on noun groups model two examples and then ask students to practice the skill of writing descriptive sentences on as many characters in the novel as possible. The simple sentence is in capital letters to show that it can exist independently of the adjectives and adjectival phrases and clauses.

Noun groups enable students to write more complex sentences as they describe people, places and things. A noun group may just involve adjectives and the noun, e.g. The tall provocative looking girl ..........

An extended noun group includes adjectival phrases and adjectival clauses.

  • While adjectives precede a noun, adjectival phrases and clauses follow the noun.
  • If they are removed the sentence still makes sense.
  • Adjectival phrases begin with prepositions - by, with, from, to, at, up, next to etc. They answer the question of where or with what.
  • Adjectival clauses begin with who (for people), which (for things), that (for people and things).
  • These are used more frequently in written language than in spoken language.

The triangle activity is based on a description of cats in Derewianka, B. (2011). A New Grammar Companion for Teachers. Newtown: e:lit. p.42.

CCSS Focus

RL.9-10.4: Determine the meaning of words and phrases (and visuals) as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices (visuals) on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

L.9-10.1: Use various types of phrases (noun, verb, adjectival, adverbial, participial, prepositional, absolute) and clauses (independent, dependent; noun, relative, adverbial) to convey specific meanings and add variety and interest to writing or presentations.

L.9-10.3: Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

L.9-10.6: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Mood in Narratives

For the Student

Learning Intention: To understand how lexical chains can create mood in a narrative.

Words such as 'cold', 'tempest' and 'hard' create a cold and gloomy atmosphere, and emphasise a setting of poverty and austerity. These words create lexical cohesion.

Similarly, you can change the mood of a text by selecting words that are positive.

Here is an example:

Negative: The child has a scabby coat of sheepskin to keep out the cold.

Positive: The child has a ruffled coat of sheepskin to keep in the warmth.

Lexical cohesion refers to relationships between and among words in a text. Lexical chains group a series or string of words that connect in some way. There may be more than one lexical chain in a text and writers deliberately use them to create certain effects.

Comment: Take a small section (1 or 2 sentences) of a text and replace words in the lexical chain with synonyms that are more positive or more negative. Write the new sentences in the Comment box and describe how the changes have affected the mood of the text. Read and comment on the sentences of other students and add your thoughts about how the mood is changed by the new sentences.

For the Teacher

In this activity students experiment with creating lexical chains and deepening their understanding of how language choice can create mood in a text. They will generally enjoy the creative and scaffolded activity of rewriting existing sentences in a text with a more positive/negative tone. Reading the language suggestions of other students, building on their ideas, collaborating, and using a thesaurus will also expand their thinking and their vocabulary.

CCSS Focus

RL.9-10.4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

SL.9-10.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

L.9-10.3: Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

L.9-10.5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

L.9-10.5a: Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text.

L.9-10.5b: Analyze nuances in the meaning of words with similar denotations.

L.9-10.6: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Narrative Brainstorming

For the Student

Learning Intention: To record ideas about characters, plot and use of similes and metaphors.

Write quick notes of your ideas on paper. Sketch the main characters. Outline the main events of the plot. List some similes and metaphors that you might use. You could record your notes on a mind map.

Mind Map

Discuss your ideas orally with a partner. Get some suggestions from them about how you might deepen a character, or make the plot more gripping, or other similes and metaphors you might use.

Comment: Share one or two good ideas that came out of your discussion with your partner.

For the Teacher

In this Overt Instruction Update students plan a narrative on paper. They can transfer these ideas to Creator, using the Structure tool to outline their work.

As they plan their narratives in this module, encourage students to refer to the Rubric in Creator as a guide. Also they can draw upon the ideas they have developed through the Community Updates such as narrative structure, and similes and metaphors.

Use peer discussion to scaffold thinking in the brainstorm.

The Brainstorming Ideas tool in the Writer’s Toolkit provides a more detailed introduction to this method of generating ideas, including ways in which students might brainstorm individually using the Creator space in Scholar, and in groups using Community.

This Overt Instruction Update occurs in:

  • Tell Me a Story: A Narrative about Real or Imagined Experiences or Events

CCSS Focus

SL.7.1: Engage effectively in a range of collaborative discussions (one-on-one ... ) with diverse partners on grade 7 topics, texts, and issues, building on others’ ideas and expressing their own clearly.

Pacing in Narratives

For the Student

Learning Intention: To understand how adventure writers use fast moving plot lines, create tension and excitement, and include description through action verbs.

Narrative pacing is the rate at which a story moves. Generally lots of description slows down the pace while careful word choice and action verbs can speed up the pace.

Look at the following excerpt from The Life of Robinson Crusoe by Daniel Defoe (abridged):

Early one morning, no less than five canoes each with four savages on board, landed on my side of the island, and not upon the beach where they traditionally performed their ghastly acts. As one of the canoes landed, I noticed one of them leap onto the beach and sprint in my direction, as if he were fleeing to safety. He must be an intended victim of the cannibals, I thought. He didn't see me hidden in the shrubbery, but as he got closer, I jumped out, shooting a number of the cannibals. The fleeing man fell to the ground, fearfully, just at my feet. Seeing several of their companions lying and dying on the beach with small wounds created by what was to them a mysterious big bang, the remaining savages fled to their boats and took to sea.

Now, with a partner or in a small group, discuss the following:

1. Identify the words which are suggesting actions. How many are there? Add up how many actions there are in this paragraph.

2. How would you describe the pacing of this story?

3. What is the rising action and climax in this one paragraph of the story?

4. What is the resolution of this sub-plot of the story?

5. While the description in this paragraph is mainly through the actions and interesting verbs, identify some adjectives in the paragraph, e.g. “ghastly” in “ghastly acts”.

6. Although the paragraph does not describe Robinson Crusoe, what are you able to infer about his character traits?

Comment: Share some of the key ideas of your discussion. Comment of the comments of 2-3 other students.

For the Teacher

In this activity, the focus is on developing students’ understanding that the pacing of an adventure story moves quickly to create tension and excitement. Using a single paragraph to study closely is useful to focus students’ attention on how to pace a narrative.

Description is included through action verbs from which the reader can infer character traits of the main character. For example, students will be able to infer character traits of the main character, Robinson Crusoe, such as he is brave, thinks quickly, has good survival skills, but is also heartless or perhaps pragmatic about the taking of human life. Using a single paragraph is useful to focus students’ attention on how to pace a narrative.

This Overt Instruction Update occurs in:

  • An Adventure Story: Writing Action-Packed Narratives

CCSS Focus

W.6/7.3b: Use narrative techniques, such as dialogue, pacing and description, to develop experience, events, and/or characters.

W.8.3b: Use narrative techniques, such as dialogue, pacing, description and reflection to develop experience, events, and/or characters.

Point of View

For the Student

Learning Intention: To understand how to write from different points of view.

Personal Pronouns are used in the first person, second person, and third person. Each ‘person’ has a different ‘point of view’ or perspective. Personal pronouns act as the subject of the verb and change when they become the object of the verb. Note that ‘you’ does not change.


Singular(one) Singular(one) Plural(more than one) Plural(more than one)

Subject Object Subject Object
1st person (speaking) I me we us
2nd Person (spoken to) you you you you
3rd Person (spoken of) he/she/it him/her/it they them

First person is used to indicate personal experience, evaluation, and/or opinion. It is used to present the point of view of the author and can create a personal connection between the writer (I) and the reader (you). It is used in personal writing, blogs, narratives, memoirs and opinion pieces.

Second person is used to address or instruct the reader. In second person, the writer includes the reader (you) in the text. Second person is often used in e-mail messages, presentations, technical and procedural (how to) writing.Example of First Person: Baseball is a bat-and-ball sport that I like to play. I play it in a team of nine players. We are not professional players but our supporters love us.

Example of Second Person: Baseball is a bat-and-ball sport. You play it between two teams of nine players. If you score the highest number of runs, you win.

Third person is used to generalize the experience or situation and is more formal than 1st or 2nd person. The reader is not involved in the text. It is used for academic, formal writing and in fiction.

Example of Third Person: Baseball is a bat-and-ball sport. It is played between two teams of nine players. Baseball players become famous when they score high numbers of runs and large amounts of money are paid to them.

Comment: Post your comment about which example of 1st, 2nd or 3rd person, is most appropriate for writing informative/explanatory texts. What effect does this achieve? What would happen if you mixed 1st, 2nd and 3rd person in a piece of writing?

For the Teacher

This Writer’s Tool is mainly informational, defining First, Second and Third Person, providing examples, and how they can be used to present a point of view or perspective. The focus is on learning about the choices a writer can make for a particular purpose or effect. Grammar, taught in context, becomes a resource to create particular effects such as adding formality and authority to students’ writing. The Comment is included to prompt students to reflect on the information when writing a particular text type.

This Overt Instruction Update occurs in:

  • Me the Expert: An Informative/Explanatory Text about Something I Know Well

CCSS Focus

W.6.2.e: Establish and maintain a formal style

L.6.1a: Ensure that pronouns are in the proper case (subjective, objective).

Sequencing Events and Experiences in Narratives

For the Student

Learning Intention: To understand how the events and experiences in a story/narrative are sequenced or put in order.

A story/narrative has a sequence or order of events and experiences. The sequence of The Ugly Duckling starts with an orientation, followed by problems faced by The Ugly Duckling, then ends with a resolution and a moral. Look at the following table and complete the third column by adding quotes from the story. You can work with a partner, discussing which quotes are best to use.

The Ugly Duckling by Hans Christian Anderson
Structure: the sequence or order of events and experiences Examples from The Ugly Duckling Quote/s from The Ugly Duckling that tells you this information
Orientation Introduces the narrative by explaining:
  • When – summer.
  • Where - countryside and farmhouse.
  • Who – a duck and her eggs.

SituationComplication orProblem (Problem 1) Adds events and interest to the narrative:
  • One egg hatches very slowly.
  • The duckling is different and others think he is ugly.

Problem 2 Adds another event and more interest to the narrative:The duckling is bullied so he runs away and starts his journey.
Problem 3 Adds another event and more interest to the narrative:On his journey, he feels lonely and other animals treat him badly.
Resolution The problems are solved:He finds out he is a swan and other animals and humans think he is beautiful.
Moral What the main character and readers learn from the journey:
  • Not to hurt people by bullying them and making them feel bad.
  • Not to be too proud.
  • Not to prejudge others based on their appearance.

Narrative Structure Chart

Comment: Think about another sequence for The Ugly Duckling. Could the resolution go first? Could the sequence of situation/complications/problems be changed? Write your idea for changing the sequence. Then comment on another student's comment, stating why you think their new sequence would or wouldn't work.

For the Teacher

This activity explicitly names the structure of a narrative in order for students to learn about sequencing experiences and events in a narrative.

Students can work with a partner to discuss which quotes are most appropriate to illustrate the aspect of the narrative structure. The discussion is important to scaffold thinking and to encourage students to find evidence in the text. Each student should complete the table, either electronically or hand written. Students may refer to their completed charts and annotated texts when they write their own texts. However, for accountability, students may also be required to submit them to the teacher through Submissions in Community.

This Overt Instruction Update occurs in:

  • A Journey: Writing a Narrative about a Real or Imagined Experiences or Events

CCSS Focus

W.4/5.3: Write narratives to develop real or imagined experiences or events, using effective technique, descriptive details, and clear event sequences.

W.6/7/8.3: Write narratives to develop real or imagined experiences or events, using effective technique, relevant descriptive details, and well structured event sequences.

W.4/5.3a: Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally.

W.6.3a: Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

W.7/8.3a: Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

W.4/5/6.3e: Provide a conclusion that follows from the narrated experiences or events.

W.7/8.3e: Provide a conclusion that follows from and refelcts on the narrated experiences or events.

Structure of Narratives 1

For the Student

Learning Intention: To understand how you can use narrative structure to tell your story.

Work with a partner to identify the structure of Aesop’s Fable, The Lion and the Mouse. Use the following questions to guide your discussion.

The Lion and the Mouse
  • The orientation establishes the setting of the narrative and introduces the main characters. Where does this occur?
  • The complication is where there is a problem or change in the setting and/or characters. There can be a number of complications in a narrative. What are the complications in the text?
  • The rising action is a series of events leading to the most important or major complication which is the climax. What is the climax? What are the events leading to the climax?
  • The resolution is when the problems in the complication are solved and order is resumed. The resolution may also include a coda which is a moral, lesson, theme or a comment on the significance of a story. What is the coda of the text?

Now discuss other stories and films that follow this narrative structure. Work with a partner or small group so you can compare and contrast at least several stories/films. Use the Narrative Structure Table to record your narrative sequence. The definitions of narrative structure are included in the table

Narrative Structure Table

Comment: Post a comment of 2-3 sentences in which you describe examples of narrative structures or parts of them. You could share a great orientation or a powerful resolution in a book of film. Are they effective? Why or why not? Comment on the comments of 2-3 students. You might get some good ideas for your own narrative.

For the Teacher

In this update, students revise narrative structure of orientation, complication, rising action, climax, and resolution, identifying the sequence in Aesop's The Lion and the Mouse (The Project Gutenberg EBook of Aesop's Fables). There are also other online versions. Other texts that the students have read, viewed or are currently studying may also be used.

As an extension they could also consider texts that do not follow a traditional structure in order to deepen their understanding of narrative structure, and explore possibilities for their own writing. For example, a narrative might start with the resolution and go backwards.

Students could also annotate a text by labelling, highlighting and underlining aspects of the text’s structure.

A survey based on The Lion and The Mouse is also available.

This Overt Instruction Update occurs in:

  • Tell Me A Story: Narrative about Real or Imagined Experiences or Events

CCSS Focus

W.6.3a: Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

W.7.3a: Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

W.8.3a: Engage and orient the reader by establishing a context and point of view and introdu

Structure of Narratives 2

For the Student

earning Intention: To analyze the structure of 'a text and understand how authors innovate on this structure.

Table 4: Narrative Structure
Orientation This establishes the setting, atmosphere and time of the story, and introduces the characters.
Complication This is where a problem or situation occurs that upsets the setting, time or characters. There may be a number of complication with rising action.
Resolution The problem is solved and order is restored. There may be a number of minor resolutions before the final resolution.
Evaluation Evaluation tells the audience the significance of the story. An internal evaluation is a comment or an emotional response of a character. An external evaluation is the narrator making a comment or judgement.
Coda The coda is the moral, lesson or message of the story. It may make concluding remarks and bring the narrative back to the present.

Use the definitions to identify the structure of insert name of text.

Attachment 7: Narrative Structure Chart

Submit your completed chart to Submissions in Community.

Comment: Is it necessary to always follow this conventional narrative structure? Post titles of narratives with different structures and whether you think they are effective. What are the advantages of knowing about narrative structure? Comment on the comments of other students, summarizing points of agreement and disagreement, and, when warranted, qualify or justify your own views and understanding.

For the Teacher

Students learn about the conventional structure of a narrative and then analyze the structure of a text' to understand how authors innovate on this structure. The comment develops students' understanding further by considering the structures of other narratives, and the importance of using and innovating on this structure. Students may use the completed chart for reference as they write. Alternatively, for accountability, they may submit the charts to Submissions in Community.

CCSS Focus

RL.9-10.5: Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

SL.9-10.1d: Respond thoughtfully to diverse perspectives, summarize points of agreement and disagreement, and, when warranted, qualify or justify their own views and understanding, and make new connections in light of the evidence and reasoning presented.

Narrative Structure Survey: The Lion and the Mouse

For the Student

Learning Intention: To understand how a narrative is structured.

Firstly, read Aesop’s Fable, The Lion and the Mouse.

AESOP'S FABLES

The Lion and the Mouse (Translation by V. S. Vernon Jones)

A Lion asleep in his lair was waked up by a Mouse running over his face.

Losing his temper he seized it with his paw and was about to kill it. The Mouse, terrified, piteously entreated him to spare its life. "Please let me go," it cried, "and one day I will repay you for your kindness." The idea of so insignificant a creature ever being able to do anything for him amused the Lion so much that he laughed aloud, and good-humoredly let it go.

But the Mouse's chance came, after all. One day the Lion got entangled in a net which had been spread for game by some hunters, and the Mouse heard and recognized his roars of anger and ran to the spot. Without more ado it set to work to gnaw the ropes with its teeth, and succeeded before long in setting the Lion free. "There!" said the Mouse, "you laughed at me when I promised I would repay you: but now you see, even a Mouse can help a Lion."

Now complete the survey.

For the Teacher

This survey may be used to revise or reinforce understanding of narrative structure. It will also provide the teacher with more information about students’ understanding.

Publication details: The Project Gutenberg EBook of Aesop's Fables, by Aesop.

This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net

This survey occurs in:

  • Childhood Memories: A Narrative about Real or Imagined Experiences or Events

CCSS Focus

W.7.3a: Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

W.7.3e: Provide a conclusion that follows from and reflects on the narrated experiences or events.

Transitions in Narratives

For the Student

Learning Intention: To understand how the events and experiences in a story/narrative are sequenced or put in order by using transition words and phrases.

A story/narrative has a sequence or order of events and experiences. Read The Bonfire and look at the sequence of events and experiences. The transition words and phrases have been underlined. These help to make connections between paragraphs and tell the reader the time sequence of the narrative.

Now, complete the third column for your narrative. You can use different transition words and phrases such as: before that, in the end, finally, after a while. This will help you to plan your narrative.

The Bonfire
Structure: The sequence/order of events and experiences Bonfire. Out of control. Firemen. Your Narrative
Transition Words and Phrases
  • In the afternoon

Orientation: Introduces the narrative
  • When – evening on July 4
  • Where - nearby field
  • Who – Me and my brother

Transition Words and Phrases
  • At first,
  • Before long

Event/Problem 1: Adds interest to the narrative
  • Collecting twigs, tree branches, logs and old furniture
  • Had to use a push cart to carry logs

Transition Words and Phrases
  • Then
  • At first

Event/Problem 2: Adds another event or problem and more interest to the narrative
  • We lit the fire
  • The flames shot up into the air and we were fascinated

Transition Words and Phrases
  • Suddenly
  • Next

Event/Problem 3: Adds another event and more interest to the narrative
  • A strong wind swept through
  • Two of the nearby trees caught fire
  • We panicked
  • We head the fire brigade siren

Transition Words and Phrases
  • Later
  • Afterwards

Resolution:The problems are resolved
  • The Fire Brigade put out the fire
  • We were lectured about fire safety

Sequencing a Narrative

Comment: What were some of the problems faced by the characters in The Bonfire? What have you learned about how to sequence your ideas in a narrative? Comment on the comments of other students.Start with @Name.

For the Teacher

This activity provides a mentor text and explicitly names the structure of a narrative in order for students to learn about sequencing experiences and events in a narrative. It explores this in the context of the five word narratives.

A word file is included for students to elaborate on their own five word stories. Suggestions of transition words are also included to support students to sequence their own narratives. Students may refer to their completed charts when they write their own texts. However, for accountability, students may also be required to submit them to the teacher through Submissions in Community.

This Overt Instruction Update occurs in:

  • A Narrative about an Unforgettable Experience or Event

CCSS Focus

W.4/5.3: Write narratives to develop real or imagined experiences or events, using effective technique, relevant descriptive details, and clear event sequences.

W.6/7/8.3: Write narratives to develop real or imagined experiences or events, using effective technique, relevant descriptive details, and well-structured event sequences.

W.4/5.3a: Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally.

W.6.3a: Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

W.7/8.3a: Engage and orient the reader by establishing a context and point of view, and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

W.4/5.3e: Provide a conclusion that follows from the narrated experiences or events.

W.6.3e: Provide a conclusion that follows from the narrated experiences or events.

W.7/8.3e: Provide a conclusion that follows from and reflects on the narrated experiences or events.

Vocabulary and Spelling

For the Student

Learning Intention: To develop your vocabulary and use spelling strategies.

Scan the text you have been allocated to read. Scanning involves moving your eyes quickly down a page searching for key words, facts or phrases. In this activity you are scanning for words that you find interesting, you don’t know the meaning of and/or would find difficult to spell. Add these words to an ‘Interesting Words’ file. Add more words as you complete this module, identifying strategies to help you work out the meaning and/or spelling of words. Remember to use some of these words in your writing.

Word My Explanation from Context Meaning from another source Spelling strategy Effect of Word Choice
metamorphosis p.77 Morph is to change so something to do with change A marked change in appearance, character, condition, or function Chunk: Meta (prefix) + morph + osis (suffix meaning action) Scientific word – shows technical knowledge
Graphic p.102 Like a graphic or a drawing Giving a clear and effective picture; vivid: Generalization: Words from ancient Greek use ‘ph’ to spell the ‘f’ sound – photo, sphere graph, phone etc Much stronger then ‘clear’

Comment: Share a definition and a spelling strategy for a word from your ‘Interesting Words’ file. Look at the words that other students have commented on. Comment on any that you found interesting or had alternative definitions from either context or another source. Sometimes you can have more than one spelling strategy for a word. Add an alternative spelling strategy for some of the words posted by other students.

For the Teacher

This activity supports students to explore vocabulary and spelling in context, and practice their scanning reading strategy.

Ask students to set up an ‘Interesting Words’ file. This can be a digital file or a vocabulary/spelling journal that is a record of frequently used words, personally significant words, topic or domain specific words. To use this file effectively, students need modelling and overt instruction through ‘think alouds’ in which the teacher pretends to be a student as he she/he tries to work out the meaning of a word from context, looks up sources to define words, and uses spelling strategies. This overt instruction can be with a whole class or small groups, and should be limited to five to 10 minute sessions. Students may work collaboratively with their peers to discuss definitions and spelling strategies, and do partner testing of spelling words. This will enable the teacher to offer further individualized support and focused mini lessons for students who require it.

Model how to use contextual clues such as looking at words, phrases and sentences that immediately follow the word, which might provide a definition through a restatement, example, contrast, comparison, cause/effect relationship or condition. A word's position or function in a sentence can be a clue. Transition words such as similarly, on the other hand, and if can also be clues.

Model and display spelling strategies such as using spelling patterns, generalizations, sounding out, chunking, visual memory, and analogy. Use ‘think alouds’ to identify and highlight the difficult part or special feature that will help students to remember how to spell a particular word. Teach students to use a Look, Say, Cover, Visualize, Write, Check strategy in partner testing of spelling words.

Use word study to explore word origins and discover generalizations about English spelling. Word study also increases specific knowledge of words – the spelling and meaning of individual words. Focus on word origins, base words, prefixes, suffixes, morphemes and uncommon plurals.

This Overt Instruction Update occurs in:

  • A Journey: Writing a Narrative about Real or Imagined Experiences of Events

CCSS Focus

L.6/7/8.4: Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 4/5/6/7/8 reading and content, choosing flexibly from a range of strategies.

L.4.4a: Use context (e.g., definitions, examples or restatements in text) as a clue to the meaning of a word or phrase.

L.5.4a: Use context (e.g., cause/effect relationships and comparisons in text) as a clue to the meaning of a word or phrase.

L.6/7/8.4a: Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.

L.4/5/6/7/8.4b: Use common, grade-appropriate Greek or Latin affixes and roots as clues to the meaning of a word (e.g.,telegraph, photograph, autograph (grade 4); photograph, photosynthesis (grade 5); audience, auditory, audible (grade 6); belligerent, bellicose, rebel (grade 7); and precede, recede, secede (grade 8)).

L.4/5.4c: Consult reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation and determine or clarify the precise meaning of keys words and phrases.

L.6.4c: Consult reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning or its part of speech.

L.7/8.4c: Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning or its part of speech.

L.6/7/8.4d: Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).

L.4.6: Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases, including those that signal precise actions, emotions, or states of being (e.g., quizzed, whined, stammered) and that are basic to a particular topic (e.g., wildlife, conservation, and endangered when discussing animal preservation).

L.5.6: Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases, including those that signal contrast, addition, and other logical relationships (e.g., however, although, nevertheless, similarly, moreover, in addition).

L.6/7/8.6: Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression.

RL.4.4: Determine the meaning of words and phrases as they are used in a text, including those that allude to significant characters found in mythology (e.g., Herculean).

RL.5.4: Determine the meaning of words and phrases as they are used in a text, including figurative language such as metaphors and similes.

RL.6/7/8.4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative and technical meanings (grades 6-8); analyze the impact of a specific word choice on meaning and tone (grades 7 & 8), including analogies or allusions to other texts (grade 8).