Try It Out! Measuring Up 0; - Mastery Education

Try It Out! Sample Pack | ELA | Grade 6 | Lesson 22

Measuring Up to the NY Standards

The Try It Out! sample pack features:

• 1 full student lesson with complete Teacher Edition lesson• 1 full Table of Contents for your grade level• Correlation to your state standards

Developed to meet the rigor of the standards, Measuring Up employs support for using and applying critical thinking skills with direct standards instruction that elevate and engage student thinking.

Standards-based lessons featureintroductions that set students up for success with:

aVocabulary in Action

aRelevant real-world connections

aClearly identified learning goals

aConnections to prior learning

Guided Instruction and IndependentLearning strengthen learning with:

aDeep thinking prompts

aCollaborative learning

aSelf-evaluation

aDemonstration of problem-solving logic

aApplication of higher-order thinking

Flexible design meets the needs ofwhole- or small-group instruction.Use for:

aIntroducing standards

aReinforcement or standards review

aIntervention

aRemediation

aTest Preparation

Extend learning with online digital resources!Measuring Up Live 2.0 blends instructional print resources with online, dynamic assessment andpractice. Meet the needs of all students for standards mastery with resources that pinpoint student needs with customized practice.

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UN

IT 2 WORDS TO KNOW

form

genre

theme

Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES RL.6.9

INTRODUCTIONReal-World Connection

FANTASY & REALISTIC FICTIONLena cannot decide what kind of story to write. Her class is studying fantasy and realistic fi ction, and her assignment is to write one or the other. Lena wants to write a story that involves fi nding a metal box buried in her backyard. The box is old, dented, and sealed shut. Lena will not be able to open it on her own and will enlist the help of her best friend, Peter.

What do you think might happen when Peter and Lena get the box open if the story is fantasy? What if it is realistic fi ction? We will practice the skills in Guided Instruction and Independent Practice. At the end of the lesson, we will revisit Lena and her story.

What I Am Going to Learn● How to compare diff erent kinds of genres

● How to contrast the diff erent approaches each genre uses for a particular theme or topic

What I May Already Know RL.5.9

● I know how to determine the theme of a story.

● I know that the point of view infl uences the understanding of the story.

Vocabulary in ActionAs you read, you will come across words that are used in a variety of ways.

● Form is the format in which an author decides to tell a story. It could be a poem, play, novel, short story, non-fi ction article, or a musical, depending on the author’s preference.

TURN AND TALKThe form of a text refers to whether it is a poem, short story, play, novel, and so on. Genre refers to the category or type of content—comedy, mystery, science fi ction, historical fi ction, and so on. What form do you prefer to read? What is your favorite genre?

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COMPARE AND CONTRAST FORMS AND GENRES Lesson 22

● Genre is the specifi c type, or category, of writing, such as fantasy, realistic fi ction, historical fi ction, or even horror.

● Theme is the “big idea” about life that the author wants the reader to think about. For instance, in Star Wars the main theme is that good will always triumph over evil.

GUIDED INSTRUCTION Sometimes we read stories that we think would be much better if they were written in diff erent genres or presented in diff erent forms. Read the two texts below about humans exploring space. They both share the same theme—how space can make you feel small and insignifi cant. Compare and contrast the ways the two genres approach the same theme.

Armstrong’s BootNeil stood on the last rung of the ladder, and he looked down again at the moon’s surface. He started to step off the ladder but paused, his left foot dangling over the moon. He couldn’t even hear what the technicians from Kennedy Space Center in Florida were saying to him in his helmet speaker.

“I can’t believe what I’m about to do,” he thought to himself, trying to remember the words he had rehearsed to say when he stepped on the moon’s surface. Neil looked up into the vast, star-speckled darkness of space, and for a moment, all he could think about was how little he was in the grand scheme of things. He was just one man trying to fi nd a little more information about an infi nite universe. “Amazing,” he smiled. He let his left foot land softly on the moon.

Red DazeInspector 27Z-442 zipped up his suit. Then, he strapped on the gas mask he needed for the walk from the spacecraft to the fl ight hub. “How unlucky was I to get picked to come to this place?” he thought, and then he laughed at how spoiled he had become.

He had come from Venus, where his company had just fi nished the air station there. It was an amazing piece of art and commerce that took seven years to complete. On Venus, your spacecraft pulls right into a beautiful hangar. Then, you walk into the terminal like a regular human being. This short one-minute walk to the Mars fl ight hub seemed old fashioned—like the airplanes his grandparents used to fl y on.

He stepped outside, bracing himself for an annoying trek that would defi nitely cover him in red dust. He could see the hub in front of him, but then he took a moment to look around. The ground was the same rusty color as far as he could see. Beyond that was a seemingly endless darkness sprinkled with

TIPS AND TRICKSTo fi gure out the theme of a story, think about the “big idea” or overall message the author is trying to convey about life. How a character reacts to something would not tell you the theme by itself, but what a character learns by the end of the text probably suggests the theme.



Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES

HINT, HINTThink about the two characters’ feelings about the wonders of space. Neil Armstrong realizes that he is making space travel history. Inspector 27Z-442 is so used to space travel that at fi rst he is bored with Mars.

stars. He never got to look out into space on Venus. He had forgotten how breathtaking it was, and how wonderfully tiny it made him feel.

“How lucky was I to get picked to come to this place?” he said aloud.

1. “Armstrong’s Boot” is historical fi ction. “Red Daze” is science fi ction. Which statement best describes the ways the two genres treat the theme?

Ⓐ “Armstrong’s Boot” shows the theme using descriptions of the moon, while “Red Daze” shows the theme by describing advanced technology.

Ⓑ “Armstrong’s Boot” shows the theme through the words and thoughts of the fi rst man on the moon, while “Red Daze” shows the theme through the words and thoughts of an experienced space traveler.

Ⓒ “Armstrong’s Boot” creates the theme by showing Neil Armstrong preparing to go to the moon, while “Red Daze” creates the theme by describing the dangers of walking on Mars.

Ⓓ “Armstrong’s Boot” shows the theme by describing Neil Armstrong’s fear, while “Red Daze” shows the theme by describing Inspector 27Z-442’s annoyance.

2. Underline one sentence from each text that best describes the ways the two genres treat the theme.

Circle evidence in “Red Daze” you could use to support the theme—space makes you feel small and insignifi cant.




How Am I Doing?

What questions do you have?

Do you think one genre might be able to approach a topic better

than another? Why or why not?

Why do you think it would be helpful to compare and contrast two

diff erent genres’ presentations of the same topic?

Color in the traffi c signal that shows how you are doing with the skill.

I am stuck.

I almost have it.

I understand

the skill.

SKETCH ITDraw an image of Armstrong putting his foot on the moon, or the Inspector covered in red dust from walking from his craft to the fl ight hub.




INDEPENDENT PRACTICERead the two short stories. Then, answer the questions that follow.

The Young WatchmanGenre: Historical Fiction

1 “BOOM!” A loud blast woke Jack up from where he lay on the fl oor of the ship’s deck. Given the way the ship rocked and shook violently beneath him it was incredible that he had stayed asleep for as long as he had. However, he wasn’t on the fl oor of the ship for long—soon he was on his feet, turning around to see the rest of the crew running and panicking.

2 “Jack, we’ve been attacked!” Captain Murtaugh repeated that phrase again as he approached where Jack stood. “The enemy ship is right there before us—why didn’t you see it?”

3 When the North and the South went to war, Jack had wanted to do whatever he could to play his part and serve the Union army. However, he was only ten years old. This meant the only job available to a boy his age was as a powder monkey. Powder monkeys were small boys who manned the cannons and helped to load gunpowder aboard the battleships. If doing that was the only way he could help the war eff ort, it did not matter to Jack.

4 Very soon, however, Jack found that he was not a good powder monkey. The work was exhausting and diffi cult. The other boys were faster than him, and sometimes he felt that his pace slowed everyone on the ship down! But he did have very sharp eyes. In fact, he had no diffi culty seeing another ship from miles away on the horizon.

5 “Please, give me a diff erent job,” he pleaded with Captain Murtaugh every time he saw him walk past the cannons. “You can tell that this is not my strength, sir.” After what seemed like years (but was only a couple of weeks), the captain agreed.

6 “All right, Jack,” Captain Murtaugh sighed. “Since you do have good eyes and since I’m tired of hearing you beg, I will give you a shot as night watchman. You’ll just have to be awake when everyone is asleep, no matter how tired you are.”

7 “You won’t be disappointed, Captain!” Jack smiled ear to ear.

8 On his fi rst day as watchman, Jack slept all morning as the others worked aboard the ship. Normally he would not dare stay asleep past six o’clock in the morning, so he felt as if being able to roll out of bed just as the cook was serving lunch was a great privilege. He changed his mind an hour after sundown, as he watched his crewmates prepare for bed. However, he knew he had an important mission. With a slight yawn, he took his place at the ship’s bow. Although he was tired already, duty was above all else.




9 He watched the horizon for nearly three hours as the moon stood at the top of the sky, refl ecting onto the gently rippling sea. Not a single ship, or even a stray seagull, was anywhere in sight as Jack’s eyes started to become very heavy. Soon he noticed that his body was even heavier. “It wouldn’t hurt to lie down and rest for just a second,” Jack said to himself. Before he even knew it, he was asleep on the deck.

10 He wasn’t asleep now, though, nor was anyone else on his ship. How stupid of him for not being awake to warn the others when it had been his job—his only job!

11 “I am so sorry, Captain,” Jack moaned with a tear in his eye and regret in his voice. “You charged me with a duty, and I have failed you and hurt us all.”

12 “Just forget about that,” Captain Murtaugh replied, much to Jack’s surprise. “Right now, we don’t even have time to think, only time to fi ght! Just get below the deck and help the other boys carry gunpowder; then load the cannons as fast as you can because we will need all the fi repower we can muster tonight!”

13 Jack didn’t have to think twice. In fact, he didn’t have to think at all as he followed the captain’s orders and headed below deck to the gunpowder stores. Jack ran quickly and carried as much gunpowder as possible with the other boys, who all worked as hard as they could. They didn’t even have the time to think about whether they were winning or losing the battle.

14 Within a few hours, the horizon was again lit with the light of the morning sun. The enemy had fl ed and the air was quiet. The ship’s deck was still, and Jack fi nally noticed how tired he was. His legs felt as if they were about to collapse beneath him. His forehead was damp with sweat. All that mattered, though, was that the ship was safe.

15 “I have learned an important lesson today, Captain,” Jack said to Captain Murtaugh. “I thought I wasn’t helping because I wasn’t as good as the other boys, but now I see that I shouldn’t give up on something just because it’s hard.” He hung his head. “I’m sorry for falling asleep and putting the crew in danger.”

16 “Don’t worry at all, Jack,” his captain replied. “We have all made mistakes and have had failures—do you think I would have gotten as far as I have if I hadn’t made a few hundred mistakes myself ?”

17 Jack laughed at the idea of his captain making even a single mistake, but when he looked up at Captain Murtaugh’s face, his expression showed that he knew failure as well as any man did. “Remember from now on that failures have one purpose, and that’s to help us learn. Just remember your mistakes, but don’t let them limit you.”

READING NOTES




A Failed MissionGenre: Science Fiction

1 “Hey there, Herb!”

2 The tall man wearing the plain black suit paused at the sound of someone yelling.

3 “I know you can hear me—you haven’t forgotten who I am, have you?”

4 It took several seconds for the man to realize that the fellow yelling down the street was talking to him and trying to get his attention. It had been three weeks since the man had moved to his new home. He was still trying to get his bearings—he often forgot that his name was now Herb, or Herbert offi cially, not his given name, Gyddar. And he now lived on Earth—not Hercixx. He had to do everything he could to act as naturally as possible. If anyone found out his true identity, his entire mission would be ruined. Captain Toixert would be furious when he returned to the spaceship.

5 Turning around to look at who was yelling at him, Herb recognized the man in the pinstriped suit from the offi ce where he worked. It was Mr. Pilkington, one of his fi rm’s biggest clients.

6 “How’s my favorite accountant today, Herb?” Mr. Pilkington slung his arm around Herbert, who was not sure how to react—the two men had only met once before. However, Mr. Pilkington was acting like they had known each other all their lives.

7 “I am fi ne and have never been better,” Herbert replied with a slight sense of unease.

8 “Well, that’s good! Look, I had a lunch meeting with a client, and he just had his secretary call me and cancel. I have a couple hours before my next meeting, so what do you say about you letting me buy you lunch today?”

9 “That is very kind of you,” Herbert said nervously, “but I must return to the offi ce in 30 minutes because they are expecting me there, and they will be very angry if I am late.”

10 “Aw, that’s too bad, but before you get back to work, I want to show you something I just had shipped from England. It’s called an Austin 7—have you ever heard of it?” Mr. Pilkington chuckled and poked Herbert in the ribs.

11 The year was 1923, and the other accountants in Herb’s offi ce had talked about little else. From what he had gathered, the Austin 7 was a new type of automobile—a machine with four wheels that Earthlings used to travel long distances. It had seats for passengers, and one passenger operated the machine by turning a fi fth wheel and stepping on pedals on the fl oor in front of his seat. Supposedly, the Austin 7 was unlike any other automobile that had been made.

12 “Yes, I know that the Austin 7 is a new type of automobile.” As soon as the words escaped his mouth, Herbert knew he should have spoken with more enthusiasm.

READING NOTES




13 “Well, today’s your lucky day, because mine is parked right over here, and I’m feeling quite generous.” That very second, Mr. Pilkington stopped and pointed to the car that was parked next to the curb. It was black and red. The way it shined reminded Herbert of the fi rst spaceship he ever piloted, the KRW-4000, which put a big smile on his face. “How would you like to give it a spin, Herb?”

14 Herbert’s happiness immediately turned to worry on his face. Mr. Pilkington was visibly confused. “What, Herb? You don’t want to drive an Austin 7? You know how to drive, don’t you? It’s brand new and all, but it’s no diff erent than driving a Model T.”

15 “I know how to drive a Model T, and I want to drive your automobile,” Herb replied. He boldly opened the driver’s side door and slid behind the steering wheel. Pilkington entered on the other side and handed him the key, which Herb slid into the slot next to the wheel until it fi t inside. Turning the key, he heard the engine make a loud noise that sounded nothing like the gentle hum that the KRW-4000 made when its engine was started. Herb gave the wheel a twist and pressed the gas pedal. Before he knew it, he was cruising down the street.

16 “That’s right,” Mr. Pilkington grinned. “So much better than driving a Model T, in my opinion. Doesn’t it just make you feel—hey, wait a minute, Herb, you really need to put your foot on the—”

17 The next thing Herbert knew, the sound of crashing metal was echoing in his ears. He fl ew forward, nearly hitting the steering wheel. When he looked up, he saw that he had driven the Austin 7 directly into a tree!

18 “Herb, you wrecked my new car!” Mr. Pilkington was considerably less angry than Captain Toixert would have been. However, he certainly wasn’t pleased.

19 Herbert was tempted to come clean and tell Mr. Pilkington that he was an alien spy, but then he imagined how furious the captain would be. “Okay, I confess,” he began. “I actually don’t know how to drive.”

20 Mr. Pilkington frowned. “So you take the train to work?”

21 “Yes!” Herbert exclaimed. He had forgotten that humans used trains to travel as well.

22 Mr. Pilkington looked more confused than ever. “Why did you lie about that?”

23 Herbert’s mind raced for an explanation. “I was embarrassed and didn’t want you to know I wasn’t any good at driving. I’m not really good at anything.”

24 “What are you talking about, Herb? You’re a great accountant! I’d rather you handle my books than anybody! In fact, it’s been almost thirty minutes, so I think you should probably get back to the offi ce. Just stick to what you know, and stay away from the steering wheel!”

Model T




25 As Herbert walked back to work, he felt happy. He had kept his true identity a secret, and he now knew that Mr. Pilkington thought he was good at his job. He would no longer doubt himself—and he would defi nitely take the train.

1. Which sentence best describes how both main characters show the theme?

Ⓐ Both are nervous in front of people in authority.

Ⓑ Both do not like to try anything diffi cult.

Ⓒ Both doubt themselves when they mess up.

Ⓓ Both care too much about what others think of them.

2. What specifi c information does the author provide early in the stories to let you know what the genre is? Write each detail under the genre it shows. You need not use every detail.

“to play his part and serve the Union army”“And he now lived on Earth—not Hercixx.”“‘The enemy ship is right there before us—why didn’t you see it?’”“Captain Toixert would be furious when he returned to the spaceship.”“The tall man wearing the plain black suit paused at the sound of someone yelling.”“When the North and South went to war”

“THE YOUNG WATCHMAN”

HISTORICAL FICTION

“A FAILED MISSION”

SCIENCE FICTION

1. THINK ABOUT ITThink about what each of the main characters does. Which of these sentences describes something both characters do?




3. Which statement best describes the theme shared by both stories?

Ⓐ Pay attention to the details.

Ⓑ Do not lie to people in authority.

Ⓒ Believe in yourself even if you make mistakes.

Ⓓ Try to do as many diff erent things as you can.

4. Which two details, one from each story, best supports the theme shared by both stories?

Ⓐ “Herbert’s happiness immediately turned to worry on his face, and Mr. Pilkington was visibly confused.” (“A Failed Mission,” paragraph 14)“‘Remember from now on that failures have one purpose, and that’s to help us learn.’” (“The Young Watchman,” paragraph 17)

Ⓑ “‘Remember from now on that failures have one purpose, and that’s to help us learn.’” (“The Young Watchman,” paragraph 17)“He would no longer doubt himself—and he would defi nitely take the train.” (“A Failed Mission,” paragraph 25)

Ⓒ “When he looked up, he saw that he had driven the Austin 7 directly into a tree!” (“A Failed Mission,” paragraph 17)“How stupid of him for not being awake to warn the others when it had been his job—his only job!” (“The Young Watchman,” paragraph 10)

Ⓓ “‘I have learned an important lesson today, Captain,’ Jack said to Captain Murtaugh.” (“The Young Watchman,” paragraph 15)“He would no longer doubt himself—and he would defi nitely take the train.” (“A Failed Mission,” paragraph 25)

TIPS AND TRICKSThe theme can often be the lesson a character learns in a text. Ask yourself, “What do Herbert and Jack know at the end of the story that they did not know at the beginning?” Then fi gure out how they learned that lesson.




5. Which sentence best explains how the main characters in both stories come to have confi dence in themselves?

Ⓐ Herbert and Jack both needed to succeed at something in order to learn to have confi dence in themselves.

Ⓑ Other characters—Mr. Pilkington and Captain Murtaugh—help Herbert and Jack learn to have confi dence in themselves.

Ⓒ Herbert and Jack both create a problem that they have to solve by themselves, and this gives them confi dence.

Ⓓ Herbert and Jack overcome interference by other characters—Mr. Pilkington and Captain Murtaugh—to learn to have confi dence in themselves.

6. A reader could make the inference that Mr. Pilkington might have been aware of Herbert’s secret. Write a short paragraph that cites evidence from the text in support of the above inference.

6.




7. Write a paragraph comparing the limitations and advantages of showing a theme using the two genres you read—historical fi ction and science fi ction. Use examples from the texts to support your answer.

7.




EXIT TICKET

Now that you know how to compare and contrast genres, let’s revisit the Real-World Connection and Lena’s story of the discovery of a metal box.

Lena’s story can be either fantasy or realistic fi ction. She has not made up her mind yet about which direction she will take the story. She does know that it will involve fi nding a sealed metal box in her backyard. She knows it will involve asking her best friend, Peter, for help. Brainstorm a list of ideas—fantasy, realistic fi ction, or both—of what could happen when Lena and Peter open the box.

RL.6.9


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ANNOTATED

TEACHER EDITION

[ ii ]

Introduction

Letter to Students vi

Letter to Parents and Families vii

What You’ll See in Measuring Up to the New York P-12 Common Core viiiLearning Standards

CONTENTS

Unit 1 LANGUAGE AND WRITINGCHAPTER 1 | LANGUAGE SKILLS

NY P-12 CCLS LESSONL.6.4.a, L.6.4.b 1. Use Context and Word Parts 1

L.6.5.b 2. Describe Word Relationships 11

L.6.5.a 3. Interpret Figures of Speech 20

L.6.5.c 4. Distinguish Denotation and Connotation 30

L.6.4.c, L.6.4.d 5. Use Reference Materials 39

W.6.1, W.6.4 6. Write Arguments 48

W.6.2, W.6.4 7. Write Informative Texts 58

W.6.3, W.6.4 8. Write Narratives 68

W.6.5, W.6.6 9. Revise and Edit 78

W.6.7, W.6.8 10. Research, Gather Information, and Cite Sources 89

Unit 1 Practice Test 99

CHAPTER 2 | WRITING SKILLS

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[ iii ]

Unit 2 LITERATURECHAPTER 1 | KEY IDEAS AND DETAILS

NY P-12 CCLS LESSONRL.6.1 11. Cite Evidence from a Story 105

RL.6.2 12. Determine Theme or Central Idea 115

RL.6.2 13. Summarize a Story 126

RL.6.3 14. Describe Plot and Characters 137

RL.6.4 15. Determine Figurative and Connotative Meanings 147

RL.6.4 16. Analyze Word Choice 156

RL.6.5 17. Describe Structure of a Story 164

RL.6.5 18. Describe Structure of a Play 175

RL.6.5 19. Describe Structure of a Poem 186

RL.6.6 20. Explain Point of View in Stories 195

RL.6.7 21. Connect Diff erent Experiences 204

RL.6.9 22. Compare and Contrast Forms and Genres 212


CHAPTER 2 | CRAFT AND STRUCTURE

CHAPTER 3 | INTEGRATION OF KNOWLEDGE AND IDEAS

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[ iv ]

Unit 3 INFORMATIONAL TEXTCHAPTER 1 | KEY IDEAS AND DETAILS

NY P-12 CCLS LESSONRI.6.1 23. Cite Evidence from a Text 233

RI.6.2 24. Determine Central Idea and Details 242

RI.6.2 25. Summarize a Text 253

RI.6.3 26. Analyze Development of Ideas 262

RI.6.4 27. Determine Figurative, Connotative, and Technical Meanings

271

RI.6.5 28. Analyze Structure of a Text 281

RI.6.6 29. Determine Author’s Point of View 291

RI.6.7 30. Analyze Media Elements 301

RI.6.8 31. Trace and Evaluate an Argument 310

RI.6.9 32. Compare and Contrast Similar Texts 319


CHAPTER 2 | CRAFT AND STRUCTURE

CHAPTER 3 | INTEGRATION OF KNOWLEDGE AND IDEAS

CONTENTS

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[ v ]

References

Acknowledgments 341

Correlation to the New York P-12 Common Core Learning Standards and New York Next Generation Learning Standards 342

Glossary 346

Writing Scoring Rubrics 351

Graphic Organizers 352

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[ 342 ] masteryeducation.com | English Language Arts | Level F

CORRELATIONS

[ 342 ] d i | E li h L A | L l F

Correlation to the New York P-12 Common Core Learning Standards and New York Next Generation Learning Standards

This worktext is customized to the New York P-12 Common Core Learning Standards for English Language Arts, and the new 2017 New York NGLS are referenced where applicable.

New York P-12 Common Core Learning Standards Lessons2017 NGLS

Reading Standards for Literature, Grade 6

Key Ideas and Details

RL.6.1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

11 6R1

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

12, 13 6R2

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.

14 6R3

Craft and Structure

RL.6.4 Determine the meaning of words and phrases as they are used in a text, including fi gurative and connotative meanings; analyze the impact of a specifi c word choice on meaning and tone.

15, 16 6R4

RL.6.5 Analyze how a particular sentence, chapter, scene, or stanza fi ts into the overall structure of a text and contributes to the development of the theme, setting, or plot.

17–19 6R5

RL.6.6 Explain how an author develops the point of view of the narrator or speaker in a text. 20 6R6

Integration of Knowledge and Ideas

RL.6.7 Compare and contrast the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version of the text, including contrasting what they “see” and “hear” when reading the text to what they perceive when they listen or watch.

21 6R7

RL.6.9 Compare and contrast texts in diff erent forms or genres (e.g., stories and poems; historical novels and fantasy stories) in terms of their approaches to similar themes and topics.

22 6R9

Range of Reading and Level of Text Complexity

RL.6.10 By the end of the year, read and comprehend literature, including stories, dramas, and poems, in the grades 6–8 text complexity band profi ciently, with scaff olding as needed at the high end of the range.

Embedded Unit 2

N/A

Reading Standards for Informational Text, Grade 6

Key Ideas and Details

RI.6.1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

23 6R1

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

24, 25 6R2

RI.6.3 Analyze in detail how a key individual, event, or idea is introduced, illustrated, and elaborated in a text (e.g., through examples or anecdotes).

26 6R3


[ 343 ]Correlation to the NY P-12 CCLS and NY NGLS | masteryeducation.com [ 343 ]C l h NY P 12 CCLS d NY NGLS | d


Craft and Structure

RI.6.4 Determine the meaning of words and phrases as they are used in a text, including fi gurative, connotative, and technical meanings.

27 6R4

RI.6.5 Analyze how a particular sentence, paragraph, chapter, or section fi ts into the overall structure of a text and contributes to the development of the ideas.

28 6R5

RI.6.6 Determine an author’s point of view or purpose in a text and explain how it is conveyed in the text. 29 6R6

Integration of Knowledge and Ideas

RI.6.7 Integrate information presented in diff erent media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.

30 6R7

RI.6.8 Trace and evaluate the argument and specifi c claims in a text, distinguishing claims that are supported by reasons and evidence from claims that are not.

31 6R8

RI.6.9 Compare and contrast one author’s presentation of events with that of another (e.g., a memoir written by and a biography on the same person).

32 6R9

Range of Reading and Level of Text Complexity

RI.6.10 By the end of the year, read and comprehend literary nonfi ction in the grades 6–8 text complexity band profi ciently, with scaff olding as needed at the high end of the range.

Embedded Unit 3

N/A

Writing Standards, Grade 6

Text Types and Purposes

W.6.1 Write arguments to support claims with clear reasons and relevant evidence. 6 6W1

a. Introduce claim(s) and organize the reasons and evidence clearly. 6 6W1a

b. Support claim(s) with clear reasons and relevant evidence, using credible sources and demonstrating an understanding of the topic or text.

6 6W1b

c. Use words, phrases, and clauses to clarify the relationships among claim(s) and reasons. 6 6W1c-d

d. Establish and maintain a formal style. 6 6W1f

e. Provide a concluding statement or section that follows from the argument presented. 6 6W1e

W.6.2 Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.

7 6W2

a. Introduce a topic; organize ideas, concepts, and information, using strategies such as defi nition, classifi cation, comparison/contrast, and cause/eff ect; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.

7 6W2a

b. Develop the topic with relevant facts, defi nitions, concrete details, quotations, or other information and examples.

7 6W2b

c. Use appropriate transitions to clarify the relationships among ideas and concepts. 7 6W2d

d. Use precise language and domain-specifi c vocabulary to inform about or explain the topic. 7 6W2c


[ 344 ] masteryeducation.com | English Language Arts | Level F

CORRELATIONS

[ 344 ] d i | E li h L A | L l F


e. Establish and maintain a formal style. 7 6W2f

f. Provide a concluding statement or section that follows from the information or explanation presented.

7 6W2e

W.6.3 Write narratives to develop real or imagined experiences or events using eff ective technique, relevant descriptive details, and well-structured event sequences.

8 6W3

a. 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.

8 6W3a

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

8 6W3b

c. Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another.

8 6W3c

d. Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events.

8 6W3d

e. Provide a conclusion that follows from the narrated experiences or events. 8 6W3e

Production and Distribution of Writing

W.6.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

6–8 N/A

W.6.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.

9 N/A

W.6.6 Use technology, including the Internet, to produce and publish writing as well as to interact and collaborate with others; demonstrate suffi cient command of keyboarding skills to type a minimum of three pages in a single sitting.

9 N/A

Research to Build and Present Knowledge

W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.

10 6W6

W.6.8 Gather relevant information from multiple print and digital sources; assess the credibility of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and providing basic bibliographic information for sources.

10 6W7

W.6.9 Draw evidence from literary or informational texts to support analysis, refl ection, and research. Embedded Units 2-3

6W5

a. Apply grade 6 Reading standards to literature (e.g., “Compare and contrast texts in diff erent forms or genres [e.g., stories and poems; historical novels and fantasy stories] in terms of their approaches to similar themes and topics”).

Embedded Unit 2

6W5

b. Apply grade 6 Reading standards to literary nonfi ction (e.g., “Trace and evaluate the argument and specifi c claims in a text, distinguishing claims that are supported by reasons and evidence from claims that are not”).

Embedded Unit 3

6W5


[ 345 ]Correlation to the NY P-12 CCLS and NY NGLS | masteryeducation.com [ 345 ]C l h NY P 12 CCLS d NY NGLS | d


Range of Writing

W.6.10 Write routinely over extended time frames (time for research, refl ection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specifi c tasks, purposes, and audiences.

Embedded Lessons 6–10

N/A

Responding to Literature

W.6.11 Create and present a text or art work in response to literary work.. Embedded all Units

6W4

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.

Embedded Unit 1

6L1

L.6.2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

Embedded Unit 1

6L2

Knowledge of Language

L.6.3 Use knowledge of language and its conventions when writing, speaking, reading, or listening. Embedded Unit 1

6L3, 6L3a-b

Vocabulary Acquisition and Use

L.6.4 Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 6 reading and content, choosing fl exibly from a range of strategies.

1, 5 6L4

a. 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.

1 6L4a

b. Use common, grade-appropriate Greek or Latin affi xes and roots as clues to the meaning of a word (e.g., audience, auditory, audible).

1 6L4b

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

5 6L4c

d. 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).

5 6L4d

L.6.5 Demonstrate understanding of fi gurative language, word relationships, and nuances in word meanings. 2–4 6L5

a. Interpret fi gures of speech (e.g., personifi cation) in context. 3 6L5a

b. Use the relationship between particular words (e.g., cause/eff ect, part/whole, item/category) to better understand each of the words.

2 6L5b

c. Distinguish among the connotations (associations) of words with similar denotations (defi nitions) (e.g., stingy, scrimping, economical, unwasteful, thrifty).

4 6L5c

L.6.6 Acquire and use accurately grade-appropriate general academic and domain-specifi c words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Embedded Unit 1

6L6



[ 213

]C

opyi

ng is

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hibi

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Uni

t 2

| L

itera

ture

| m

aste

ryed

ucat

ion.

com

CO

MPA

RE

AN

D C

ON

TR

AST

FO

RM

S A

ND

GEN

RES

Le

sson

22

● G

enre

is th

e sp

ecifi

c ty

pe, o

r ca

tego

ry, o

f w

ritin

g, s

uch

as fa

ntas

y,

real

istic

fi ct

ion,

his

toric

al fi

ctio

n, o

r ev

en h

orro

r.

● T

hem

e is

the

“big

idea

” ab

out l

ife th

at th

e au

thor

wan

ts th

e re

ader

to

thin

k ab

out.

For

inst

ance

, in

Star

War

s th

e m

ain

them

e is

that

goo

d w

ill a

lway

s tr

ium

ph o

ver

evil.

GU

IDED

INST

RUCT

ION

So

met

imes

we

read

sto

ries

that

we

thin

k w

ould

be

muc

h be

tter

if th

ey w

ere

writ

ten

in d

iff er

ent g

enre

s or

pre

sent

ed in

diff

eren

t for

ms.

Rea

d th

e tw

o te

xts

belo

w a

bout

hum

ans

expl

orin

g sp

ace.

The

y bo

th s

hare

the

sam

e th

eme—

how

sp

ace

can

mak

e yo

u fe

el s

mal

l and

insi

gnifi

cant

. Com

pare

and

con

tras

t the

w

ays

the

two

genr

es a

ppro

ach

the

sam

e th

eme.

Arm

stro

ng’s

Boot

Nei

l sto

od o

n th

e la

st r

ung

of th

e la

dder

, and

he

look

ed d

own

agai

n at

the

moo

n’s

surf

ace.

He

star

ted

to s

tep

off t

he la

dder

but

pau

sed,

his

left

foot

da

nglin

g ov

er th

e m

oon.

He

coul

dn’t

even

hea

r w

hat t

he te

chni

cian

s fr

om

Kenn

edy

Spac

e C

ente

r in

Flo

rida

wer

e sa

ying

to h

im in

his

hel

met

spe

aker

.

“I c

an’t

belie

ve w

hat I

’m a

bout

to d

o,”

he th

ough

t to

him

self,

tryi

ng to

rem

embe

r th

e w

ords

he

had

rehe

arse

d to

say

whe

n he

ste

pped

on

the

moo

n’s

surf

ace.

N

eil l

ooke

d up

into

the

vast

, sta

r-sp

eckl

ed d

arkn

ess

of s

pace

, and

for

a m

omen

t, al

l he

coul

d th

ink

abou

t was

how

litt

le h

e w

as in

the

gran

d sc

hem

e of

thin

gs.

He

was

just

one

man

tryi

ng to

fi nd

a li

ttle

mor

e in

form

atio

n ab

out a

n in

fi nite

un

iver

se. “

Am

azin

g,”

he s

mile

d. H

e le

t his

left

foot

land

sof

tly o

n th

e m

oon.

[Rea

ding

Lev

el: 9

00–1

000L

; Wor

d C

ount

: 143

]

Red

Daz

eIn

spec

tor

27Z-

442

zipp

ed u

p hi

s su

it. T

hen,

he

stra

pped

on

the

gas

mas

k he

ne

eded

for

the

wal

k fr

om th

e sp

acec

raft

to th

e fl i

ght h

ub. “

How

unl

ucky

was

I to

get

pic

ked

to c

ome

to th

is p

lace

?” h

e th

ough

t, an

d th

en h

e la

ughe

d at

how

sp

oile

d he

had

bec

ome.

He

had

com

e fr

om V

enus

, whe

re h

is c

ompa

ny h

ad ju

st fi

nish

ed th

e ai

r st

atio

n th

ere.

It w

as a

n am

azin

g pi

ece

of a

rt a

nd c

omm

erce

that

took

sev

en y

ears

to

com

plet

e. O

n Ve

nus,

you

r sp

acec

raft

pulls

rig

ht in

to a

bea

utifu

l han

gar.

The

n,

you

wal

k in

to th

e te

rmin

al li

ke a

reg

ular

hum

an b

eing

. Thi

s sh

ort o

ne-m

inut

e w

alk

to th

e M

ars

fl igh

t hub

see

med

old

fash

ione

d—lik

e th

e ai

rpla

nes

his

gran

dpar

ents

use

d to

fl y

on.

He

step

ped

outs

ide,

bra

cing

him

self

for

an a

nnoy

ing

trek

tha

t w

ould

defi

nite

ly

cove

r hi

m in

red

dus

t. H

e co

uld

see

the

hub

in fr

ont

of h

im, b

ut t

hen

he t

ook

a m

omen

t to

look

aro

und.

The

gro

und

was

the

sam

e ru

sty

colo

r as

far

as

he c

ould

see

. Bey

ond

that

was

a s

eem

ingl

y en

dles

s da

rkne

ss s

prin

kled

with

TIP

S A

ND

TR

ICK

STo

fi gu

re o

ut th

e th

eme

of a

sto

ry,

thin

k ab

out t

he “

big

idea

” or

ove

rall

mes

sage

the

auth

or is

tryi

ng to

co

nvey

abo

ut li

fe. H

ow a

cha

ract

er

reac

ts to

som

ethi

ng w

ould

not

tell

you

the

them

e by

itse

lf, b

ut w

hat a

ch

arac

ter

lear

ns b

y th

e en

d of

the

text

pro

babl

y su

gges

ts th

e th

eme.

[ 212

]m

aste

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| E

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ngua

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| L

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FC

opyi

ng is

pro

hibi

ted.

UNIT 2

WO

RD

S TO

KN

OW

form

genr

e

them

e

Less

on 2

2 C

OM

PAR

E A

ND

CO

NT

RA

ST F

OR

MS

AN

D G

ENR

ES R

L.6.

9

INTR

OD

UCT

ION

Rea

l-W

orld

Con

nec

tion

FAN

TASY

& R

EALI

STIC

FIC

TIO

NLe

na c

anno

t dec

ide

wha

t kin

d of

sto

ry to

writ

e. H

er c

lass

is s

tudy

ing

fant

asy

and

real

istic

fi ct

ion,

and

her

ass

ignm

ent i

s to

writ

e on

e or

the

othe

r. Le

na

wan

ts to

writ

e a

stor

y th

at in

volv

es fi

ndin

g a

met

al b

ox b

urie

d in

her

bac

kyar

d.

The

box

is o

ld, d

ente

d, a

nd s

eale

d sh

ut. L

ena

will

not

be

able

to o

pen

it on

her

ow

n an

d w

ill e

nlis

t the

hel

p of

her

bes

t frie

nd, P

eter

.

Wha

t do

you

thin

k m

ight

hap

pen

whe

n Pe

ter

and

Lena

get

the

box

open

if

the

stor

y is

fant

asy?

Wha

t if

it is

rea

listic

fi ct

ion?

We

will

pra

ctic

e th

e sk

ills

in

Gui

ded

Inst

ruct

ion

and

Inde

pend

ent

Prac

tice.

At t

he e

nd o

f th

e le

sson

, we

will

rev

isit

Lena

and

her

sto

ry.

Wh

at I

Am

Goi

ng

to L

earn

● H

ow to

com

pare

diff

eren

t kin

ds o

f ge

nres

● H

ow to

con

tras

t the

diff

eren

t app

roac

hes

each

gen

re u

ses

for

a pa

rtic

ular

them

e or

topi

c

Wh

at I

May

Alr

eady

Kn

ow RL

.5.9

● I k

now

how

to d

eter

min

e th

e th

eme

of a

sto

ry.

● I k

now

that

the

poin

t of

view

infl u

ence

s th

e un

ders

tand

ing

of th

e st

ory.

Voc

abu

lary

in A

ctio

nA

s yo

u re

ad, y

ou w

ill c

ome

acro

ss w

ords

that

are

use

d in

a v

arie

ty o

f w

ays.

● Fo

rm is

the

form

at in

whi

ch a

n au

thor

dec

ides

to te

ll a

stor

y. It

cou

ld

be a

poe

m, p

lay,

nov

el, s

hort

sto

ry, n

on-fi

ctio

n ar

ticle

, or

a m

usic

al,

depe

ndin

g on

the

auth

or’s

pre

fere

nce.

TU

RN

AN

D T

ALK

The

form

of a

tex

t ref

ers

to

whe

ther

it is

a p

oem

, sho

rt s

tory

, pl

ay, n

ovel

, and

so

on. G

enre

re

fers

to

the

cate

gory

or

type

of

con

tent

—co

med

y, m

yste

ry,

scie

nce

fi ctio

n, h

isto

rica

l fi c

tion,

an

d so

on.

Wha

t for

m d

o yo

u pr

efer

to

read

? Wha

t is

your

fa

vori

te g

enre

?

9781609796815_MUSS_ELA_NY6_TE_int.indb 1389781609796815_MUSS_ELA_NY6_TE_int.indb 138 8/13/2018 4:53:08 PM8/13/2018 4:53:08 PM

[ 139 ]Unit 2 | Literature | masteryeducation.comCopying is prohibited.

[ 215

]C

opyi

ng is

pro

hibi

ted.

Uni

t 2

| L

itera

ture

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aste

ryed

ucat

ion.

com

CO

MPA

RE

AN

D C

ON

TR

AST

FO

RM

S A

ND

GEN

RES

Le

sson

22

How

Am

I D

oing

?

Wha

t qu

estio

ns d

o yo

u ha

ve?

Do

you

thin

k on

e ge

nre

mig

ht b

e ab

le t

o ap

proa

ch a

top

ic b

ette

r

than

ano

ther

? W

hy o

r w

hy n

ot?

Why

do

you

thin

k it

wou

ld b

e he

lpfu

l to

com

pare

and

con

tras

t tw

o

diff e

rent

gen

res’

pre

sent

atio

ns o

f the

sam

e to

pic?

Col

or in

the

tra

ffi c

sign

al

that

sho

ws

how

you

are

do

ing

with

the

ski

ll.

I am

stu

ck.

I alm

ost

hav e

it.

I un

ders

tand

th

e sk

ill.

SK

ETC

H IT

Dra

w a

n im

age

of A

rmst

rong

pu

ttin

g hi

s fo

ot o

n th

e m

oon,

or

the

Insp

ecto

r co

vere

d in

red

dus

t fr

om w

alki

ng fr

om h

is c

raft

to

the

fl igh

t hub

.

[ 214

]m

aste

ryed

ucat

ion.

com

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nglis

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| L

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FC

opyi

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pro

hibi

ted.

Less

on 2

2

C

OM

PAR

E A

ND

CO

NT

RA

ST F

OR

MS

AN

D G

ENR

ES

HIN

T, H

INT

Thi

nk a

bout

the

tw

o ch

arac

ters

’ fe

elin

gs a

bout

the

won

ders

of

spac

e. N

eil A

rmst

rong

rea

lizes

tha

t he

is m

akin

g sp

ace

trav

el h

isto

ry.

Insp

ecto

r 27

Z-4

42 is

so

used

to

spac

e tr

avel

tha

t at fi

rst

he

is b

ored

w

ith M

ars.

star

s. H

e ne

ver

got

to lo

ok o

ut in

to s

pace

on

Venu

s. H

e ha

d fo

rgot

ten

how

br

eath

taki

ng it

was

, and

how

won

derf

ully

tin

y it

mad

e hi

m fe

el.

“How

luck

y w

as I

to g

et p

icke

d to

com

e to

this

pla

ce?”

he

said

alo

ud.

[Rea

ding

Lev

el: 8

80–9

80L;

Wor

d C

ount

: 220

]

1. “

Arm

stro

ng’s

Boot

” is

his

tori

cal fi

ctio

n. “

Red

Daz

e” is

sci

ence

fi ct

ion.

W

hich

sta

tem

ent

best

des

crib

es t

he w

ays

the

two

genr

es t

reat

the

the

me?

Ⓐ

“Arm

stro

ng’s

Boo

t” s

how

s th

e th

eme

usin

g de

scrip

tions

of

the

moo

n, w

hile

“R

ed D

aze”

sho

ws

the

them

e by

des

crib

ing

adva

nced

te

chno

logy

.

Ⓑ

“Arm

stro

ng’s

Boo

t” s

how

s th

e th

eme

thro

ugh

the

wor

ds a

nd

thou

ghts

of

the

fi rst

man

on

the

moo

n, w

hile

“R

ed D

aze”

sho

ws

the

them

e th

roug

h th

e w

ords

and

thou

ghts

of

an e

xper

ienc

ed

spac

e tr

avel

er.

Ⓒ

“Arm

stro

ng’s

Boot

” cr

eate

s th

e th

eme

by s

how

ing

Nei

l Arm

stro

ng

prep

arin

g to

go

to th

e m

oon,

whi

le “

Red

Daz

e” c

reat

es th

e th

eme

by

desc

ribin

g th

e da

nger

s of

wal

king

on

Mar

s.

Ⓓ

“Arm

stro

ng’s

Boo

t” s

how

s th

e th

eme

by d

escr

ibin

g N

eil

Arm

stro

ng’s

fear

, whi

le “

Red

Daz

e” s

how

s th

e th

eme

by d

escr

ibin

g In

spec

tor

27Z-

442’

s an

noya

nce.

2.

Und

erlin

e on

e se

nten

ce fr

om e

ach

text

tha

t be

st d

escr

ibes

the

way

s th

e tw

o ge

nres

tre

at t

he t

hem

e.

Circ

le e

vide

nce

in “

Red

Daz

e” y

ou c

ould

use

to s

uppo

rt th

e th

eme—

spac

e m

akes

you

feel

sm

all a

nd in

sign

ifi ca

nt.

He

had

forg

otte

n ho

w

Ⓑ



[ 217

]C

opyi

ng is

pro

hibi

ted.

Uni

t 2

| L

itera

ture

| m

aste

ryed

ucat

ion.

com

CO

MPA

RE

AN

D C

ON

TR

AST

FO

RM

S A

ND

GEN

RES

Le

sson

22

9

He

wat

ched

the

horiz

on fo

r ne

arly

thre

e ho

urs

as th

e m

oon

stoo

d at

th

e to

p of

the

sky,

refl

ect

ing

onto

the

gent

ly r

ippl

ing

sea.

Not

a s

ingl

e sh

ip, o

r ev

en a

str

ay s

eagu

ll, w

as a

nyw

here

in s

ight

as

Jack

’s e

yes

star

ted

to b

ecom

e ve

ry h

eavy

. Soo

n he

not

iced

that

his

bod

y w

as e

ven

heav

ier.

“It w

ould

n’t h

urt t

o lie

dow

n an

d re

st fo

r ju

st a

sec

ond,

” Ja

ck s

aid

to

him

self.

Bef

ore

he e

ven

knew

it, h

e w

as a

slee

p on

the

deck

.

10

H

e w

asn’

t asl

eep

now

, tho

ugh,

nor

was

any

one

else

on

his

ship

. How

st

upid

of

him

for

not b

eing

aw

ake

to w

arn

the

othe

rs w

hen

it ha

d be

en

his

job—

his

only

job!

11

“I

am

so

sorr

y, C

apta

in,”

Jack

moa

ned

with

a te

ar in

his

eye

and

reg

ret

in h

is v

oice

. “Yo

u ch

arge

d m

e w

ith a

dut

y, a

nd I

have

faile

d yo

u an

d hu

rt

us a

ll.”

12

“J

ust f

orge

t abo

ut th

at,”

Cap

tain

Mur

taug

h re

plie

d, m

uch

to Ja

ck’s

su

rpris

e. “

Rig

ht n

ow, w

e do

n’t e

ven

have

tim

e to

thin

k, o

nly

time

to

fi ght

! Jus

t get

bel

ow th

e de

ck a

nd h

elp

the

othe

r bo

ys c

arry

gun

pow

der;

th

en lo

ad th

e ca

nnon

s as

fast

as

you

can

beca

use

we

will

nee

d al

l the

fi r

epow

er w

e ca

n m

uste

r to

nigh

t!”

13

Ja

ck d

idn’

t hav

e to

thin

k tw

ice.

In fa

ct, h

e di

dn’t

have

to th

ink

at

all a

s he

follo

wed

the

capt

ain’

s or

ders

and

hea

ded

belo

w d

eck

to th

e gu

npow

der

stor

es. J

ack

ran

quic

kly

and

carr

ied

as m

uch

gunp

owde

r as

po

ssib

le w

ith th

e ot

her

boys

, who

all

wor

ked

as h

ard

as th

ey c

ould

. The

y di

dn’t

even

hav

e th

e tim

e to

thin

k ab

out w

heth

er th

ey w

ere

win

ning

or

losi

ng th

e ba

ttle

.

14

W

ithin

a fe

w h

ours

, the

hor

izon

was

aga

in li

t with

the

light

of

the

mor

ning

sun

. The

ene

my

had

fl ed

and

the

air

was

qui

et. T

he s

hip’

s de

ck

was

stil

l, an

d Ja

ck fi

nally

not

iced

how

tire

d he

was

. His

legs

felt

as if

they

w

ere

abou

t to

colla

pse

bene

ath

him

. His

fore

head

was

dam

p w

ith s

wea

t. A

ll th

at m

atte

red,

thou

gh, w

as th

at th

e sh

ip w

as s

afe.

15

“I

hav

e le

arne

d an

impo

rtan

t les

son

toda

y, C

apta

in,”

Jack

sai

d to

C

apta

in M

urta

ugh.

“I t

houg

ht I

was

n’t h

elpi

ng b

ecau

se I

was

n’t a

s go

od

as th

e ot

her

boys

, but

now

I se

e th

at I

shou

ldn’

t giv

e up

on

som

ethi

ng

just

bec

ause

it’s

har

d.”

He

hung

his

hea

d. “

I’m s

orry

for

falli

ng a

slee

p an

d pu

ttin

g th

e cr

ew in

dan

ger.”

16

“D

on’t

wor

ry a

t all,

Jack

,” h

is c

apta

in r

eplie

d. “

We

have

all

mad

e m

ista

kes

and

have

had

failu

res—

do y

ou th

ink

I wou

ld h

ave

gott

en a

s fa

r as

I ha

ve if

I ha

dn’t

mad

e a

few

hun

dred

mis

take

s m

ysel

f?”

17

Ja

ck la

ughe

d at

the

idea

of

his

capt

ain

mak

ing

even

a s

ingl

e m

ista

ke,

but w

hen

he lo

oked

up

at C

apta

in M

urta

ugh’

s fa

ce, h

is e

xpre

ssio

n sh

owed

that

he

knew

failu

re a

s w

ell a

s an

y m

an d

id. “

Rem

embe

r fr

om

now

on

that

failu

res

have

one

pur

pose

, and

that

’s to

hel

p us

lear

n. Ju

st

rem

embe

r yo

ur m

ista

kes,

but

don

’t le

t the

m li

mit

you.

”

[R

eadi

ng L

evel

: 880

–980

L; W

ord

Cou

nt: 9

40]

REA

DIN

G N

OT

ES

[ 216

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

FC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

C

OM

PAR

E A

ND

CO

NT

RA

ST F

OR

MS

AN

D G

ENR

ES

IND

EPEN

DEN

T PR

ACTI

CER

ead

the

two

shor

t sto

ries.

The

n, a

nsw

er th

e qu

estio

ns th

at fo

llow

.

The

You

ng W

atch

man

Gen

re: H

isto

rical

Fic

tion

1

“BO

OM

!” A

loud

bla

st w

oke

Jack

up

from

whe

re h

e la

y on

the

fl oor

of

the

ship

’s de

ck. G

iven

the

way

the

ship

roc

ked

and

shoo

k vi

olen

tly b

enea

th

him

it w

as in

cred

ible

that

he

had

stay

ed a

sleep

for

as lo

ng a

s he

had

. H

owev

er, h

e w

asn’

t on

the

fl oor

of t

he s

hip

for

long

—so

on h

e w

as o

n hi

s fe

et, t

urni

ng a

roun

d to

see

the

rest

of t

he c

rew

run

ning

and

pan

icki

ng.

2

“Jac

k, w

e’ve

bee

n at

tack

ed!”

Cap

tain

Mur

taug

h re

peat

ed th

at p

hras

e ag

ain

as h

e ap

proa

ched

whe

re Ja

ck s

tood

. “T

he e

nem

y sh

ip is

rig

ht th

ere

befo

re u

s—w

hy d

idn’

t you

see

it?”

3

Whe

n th

e N

orth

and

the

Sout

h w

ent t

o w

ar, J

ack

had

wan

ted

to d

o w

hate

ver

he c

ould

to p

lay

his

part

and

ser

ve th

e U

nion

arm

y. H

owev

er,

he w

as o

nly

ten

year

s ol

d. T

his

mea

nt th

e on

ly jo

b av

aila

ble

to a

boy

hi

s ag

e w

as a

s a

pow

der

mon

key.

Pow

der

mon

keys

wer

e sm

all b

oys

who

man

ned

the

cann

ons

and

help

ed to

load

gun

pow

der

aboa

rd th

e ba

ttle

ship

s. If

doi

ng th

at w

as th

e on

ly w

ay h

e co

uld

help

the

war

eff o

rt,

it di

d no

t mat

ter

to Ja

ck.

4

Very

soo

n, h

owev

er, J

ack

foun

d th

at h

e w

as n

ot a

goo

d po

wde

r m

onke

y. T

he w

ork

was

exh

aust

ing

and

diffi

cult.

The

oth

er b

oys

wer

e fa

ster

than

him

, and

som

etim

es h

e fe

lt th

at h

is p

ace

slow

ed e

very

one

on th

e sh

ip d

own!

But

he

did

have

ver

y sh

arp

eyes

. In

fact

, he

had

no

diffi

culty

see

ing

anot

her

ship

from

mile

s aw

ay o

n th

e ho

rizon

.

5

“Ple

ase,

giv

e m

e a

diff e

rent

job,

” he

ple

aded

with

Cap

tain

Mur

taug

h ev

ery

time

he s

aw h

im w

alk

past

the

cann

ons.

“Yo

u ca

n te

ll th

at th

is

is n

ot m

y st

reng

th, s

ir.”

Afte

r w

hat s

eem

ed li

ke y

ears

(bu

t was

onl

y a

coup

le o

f w

eeks

), th

e ca

ptai

n ag

reed

.

6

“All

right

, Jac

k,”

Cap

tain

Mur

taug

h si

ghed

. “Si

nce

you

do h

ave

good

ey

es a

nd s

ince

I’m

tire

d of

hea

ring

you

beg,

I w

ill g

ive

you

a sh

ot a

s ni

ght

wat

chm

an. Y

ou’ll

just

hav

e to

be

awak

e w

hen

ever

yone

is a

slee

p, n

o m

atte

r ho

w ti

red

you

are.

”

7

“You

won

’t be

dis

appo

inte

d, C

apta

in!”

Jack

sm

iled

ear

to e

ar.

8

On

his

fi rst

day

as

wat

chm

an, J

ack

slept

all

mor

ning

as

the

othe

rs w

orke

d ab

oard

the

ship

. Nor

mal

ly h

e w

ould

not

dar

e st

ay a

sleep

pas

t six

o’c

lock

in

the

mor

ning

, so

he fe

lt as

if b

eing

abl

e to

roll

out o

f bed

just

as

the

cook

w

as s

ervi

ng lu

nch

was

a g

reat

priv

ilege

. He

chan

ged

his

min

d an

hou

r af

ter

sund

own,

as

he w

atch

ed h

is cr

ewm

ates

pre

pare

for

bed.

How

ever

, he

knew

he

had

an im

port

ant m

issio

n. W

ith a

slig

ht y

awn,

he

took

his

plac

e at

th

e sh

ip’s

bow

. Alth

ough

he

was

tire

d al

read

y, du

ty w

as a

bove

all

else

.



[ 219

]C

opyi

ng is

pro

hibi

ted.

Uni

t 2

| L

itera

ture

| m

aste

ryed

ucat

ion.

com

CO

MPA

RE

AN

D C

ON

TR

AST

FO

RM

S A

ND

GEN

RES

Le

sson

22

13

“W

ell,

toda

y’s

your

luck

y da

y, b

ecau

se m

ine

is p

arke

d rig

ht o

ver

here

, an

d I’m

feel

ing

quite

gen

erou

s.”

Tha

t ver

y se

cond

, Mr.

Pilk

ingt

on s

topp

ed

and

poin

ted

to th

e ca

r th

at w

as p

arke

d ne

xt to

the

curb

. It w

as b

lack

an

d re

d. T

he w

ay it

shi

ned

rem

inde

d H

erbe

rt o

f th

e fi r

st s

pace

ship

he

ever

pilo

ted,

the

KR

W-4

000,

whi

ch p

ut a

big

sm

ile o

n hi

s fa

ce. “

How

w

ould

you

like

to g

ive

it a

spin

, Her

b?”

14

H

erbe

rt’s

happ

ines

s im

med

iate

ly tu

rned

to w

orry

on

his

face

. M

r. Pi

lkin

gton

was

visi

bly

conf

used

. “W

hat,

Her

b? Y

ou d

on’t

wan

t to

driv

e an

Aus

tin 7

? You

kno

w h

ow to

dri

ve, d

on’t

you?

It’s

bran

d ne

w a

nd a

ll,

but i

t’s n

o di

ff ere

nt th

an d

rivi

ng a

Mod

el T

.”

15

“I

kno

w h

ow to

dri

ve a

Mod

el T

, and

I w

ant t

o dr

ive

your

aut

omob

ile,”

H

erb

repl

ied.

He

bold

ly o

pene

d th

e dr

iver

’s s

ide

door

and

slid

beh

ind

the

stee

ring

whe

el. P

ilkin

gton

ent

ered

on

the

othe

r si

de a

nd h

ande

d hi

m

the

key,

whi

ch H

erb

slid

into

the

slot

nex

t to

the

whe

el u

ntil

it fi t

insi

de.

Turn

ing

the

key,

he

hear

d th

e en

gine

mak

e a

loud

noi

se th

at s

ound

ed

noth

ing

like

the

gent

le h

um th

at th

e K

RW

-400

0 m

ade

whe

n its

eng

ine

was

sta

rted

. Her

b ga

ve th

e w

heel

a tw

ist a

nd p

ress

ed th

e ga

s pe

dal.

Befo

re h

e kn

ew it

, he

was

cru

isin

g do

wn

the

stre

et.

16

“T

hat’s

rig

ht,”

Mr.

Pilk

ingt

on g

rinne

d. “

So m

uch

bett

er th

an d

rivi

ng

a M

odel

T, i

n m

y op

inio

n. D

oesn

’t it

just

mak

e yo

u fe

el—

hey,

wai

t a

min

ute,

Her

b, y

ou r

eally

nee

d to

put

you

r fo

ot o

n th

e—”

17

T

he n

ext t

hing

Her

bert

kne

w, t

he s

ound

of

cras

hing

met

al w

as e

choi

ng

in h

is e

ars.

He

fl ew

forw

ard,

nea

rly

hitt

ing

the

stee

ring

whe

el. W

hen

he

look

ed u

p, h

e sa

w th

at h

e ha

d dr

iven

the

Aus

tin 7

dire

ctly

into

a tr

ee!

18

“H

erb,

you

wre

cked

my

new

car

!” M

r. Pi

lkin

gton

was

con

side

rabl

y le

ss a

ngry

than

Cap

tain

Toi

xert

wou

ld h

ave

been

. How

ever

, he

cert

ainl

y w

asn’

t ple

ased

.

19

H

erbe

rt w

as te

mpt

ed to

com

e cl

ean

and

tell

Mr.

Pilk

ingt

on th

at h

e w

as a

n al

ien

spy,

but

then

he

imag

ined

how

furio

us th

e ca

ptai

n w

ould

be.

“O

kay,

I co

nfes

s,”

he b

egan

. “I a

ctua

lly d

on’t

know

how

to d

rive

.”

20

M

r. Pi

lkin

gton

frow

ned.

“So

you

take

the

trai

n to

wor

k?”

21

“Y

es!”

Her

bert

exc

laim

ed. H

e ha

d fo

rgot

ten

that

hum

ans

used

trai

ns

to tr

avel

as

wel

l.

22

M

r. Pi

lkin

gton

look

ed m

ore

conf

used

than

eve

r. “W

hy d

id y

ou li

e ab

out t

hat?

”

23

H

erbe

rt’s

min

d ra

ced

for

an e

xpla

natio

n. “

I was

em

barr

asse

d an

d di

dn’t

wan

t you

to k

now

I w

asn’

t any

goo

d at

dri

ving

. I’m

not

rea

lly g

ood

at a

nyth

ing.

”

24

“W

hat a

re y

ou ta

lkin

g ab

out,

Her

b? Y

ou’re

a g

reat

acc

ount

ant!

I’d

rath

er y

ou h

andl

e m

y bo

oks

than

any

body

! In

fact

, it’s

bee

n al

mos

t thi

rty

min

utes

, so

I thi

nk y

ou s

houl

d pr

obab

ly g

et b

ack

to th

e offi

ce.

Just

stic

k to

wha

t you

kno

w, a

nd s

tay

away

from

the

stee

ring

whe

el!”

Mod

el T

[ 218

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

FC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

C

OM

PAR

E A

ND

CO

NT

RA

ST F

OR

MS

AN

D G

ENR

ES

A F

aile

d M

issi

onG

enre

: Sci

ence

Fic

tion

1

“Hey

ther

e, H

erb!

”

2

The

tall

man

wea

ring

the

plai

n bl

ack

suit

paus

ed a

t the

sou

nd o

f so

meo

ne y

ellin

g.

3

“I k

now

you

can

hea

r m

e—yo

u ha

ven’

t for

gott

en w

ho I

am, h

ave

you?

”

4

It to

ok s

ever

al s

econ

ds fo

r th

e m

an to

real

ize th

at th

e fe

llow

yel

ling

dow

n th

e st

reet

was

talk

ing

to h

im a

nd tr

ying

to g

et h

is at

tent

ion.

It h

ad b

een

thre

e w

eeks

sin

ce th

e m

an h

ad m

oved

to h

is ne

w h

ome.

He

was

stil

l try

ing

to

get h

is be

arin

gs—

he o

ften

forg

ot th

at h

is na

me

was

now

Her

b, o

r H

erbe

rt

offi c

ially

, not

his

give

n na

me,

Gyd

dar.

And

he

now

live

d on

Ear

th—

not

Her

cixx

. He

had

to d

o ev

eryt

hing

he

coul

d to

act

as

natu

rally

as

poss

ible

. If

anyo

ne fo

und

out h

is tr

ue id

entit

y, hi

s en

tire

miss

ion

wou

ld b

e ru

ined

. C

apta

in T

oixe

rt w

ould

be

furio

us w

hen

he re

turn

ed to

the

spac

eshi

p.

5

Turn

ing

arou

nd to

look

at w

ho w

as y

ellin

g at

him

, Her

b re

cogn

ized

th

e m

an in

the

pins

trip

ed s

uit f

rom

the

offi c

e w

here

he

wor

ked.

It w

as

Mr.

Pilk

ingt

on, o

ne o

f hi

s fi r

m’s

big

gest

clie

nts.

6

“How

’s m

y fa

vorit

e ac

coun

tant

toda

y, H

erb?

” M

r. Pi

lkin

gton

slu

ng h

is

arm

aro

und

Her

bert

, who

was

not

sur

e ho

w to

rea

ct—

the

two

men

had

on

ly m

et o

nce

befo

re. H

owev

er, M

r. Pi

lkin

gton

was

act

ing

like

they

had

kn

own

each

oth

er a

ll th

eir

lives

.

7

“I a

m fi

ne a

nd h

ave

neve

r be

en b

ette

r,” H

erbe

rt r

eplie

d w

ith a

slig

ht

sens

e of

une

ase.

8

“Wel

l, th

at’s

good

! Loo

k, I

had

a lu

nch

mee

ting

with

a c

lient

, and

he

just

ha

d hi

s se

cret

ary

call

me

and

canc

el. I

hav

e a

coup

le h

ours

bef

ore

my

next

m

eetin

g, s

o w

hat d

o yo

u sa

y ab

out y

ou le

ttin

g m

e bu

y yo

u lu

nch

toda

y?”

9

“Tha

t is

very

kin

d of

you

,” H

erbe

rt s

aid

nerv

ousl

y, “

but I

mus

t ret

urn

to

the

offi c

e in

30

min

utes

bec

ause

they

are

exp

ectin

g m

e th

ere,

and

they

will

be

ver

y an

gry

if I a

m la

te.”

10

“A

w, t

hat’s

too

bad,

but

bef

ore

you

get b

ack

to w

ork,

I w

ant t

o sh

ow y

ou

som

ethi

ng I

just

had

shi

pped

from

Eng

land

. It’s

cal

led

an A

ustin

7—

have

you

ev

er h

eard

of i

t?”

Mr.

Pilk

ingt

on c

huck

led

and

poke

d H

erbe

rt in

the

ribs.

11

T

he y

ear

was

192

3, a

nd th

e ot

her

acco

unta

nts

in H

erb’

s offi

ce

had

talk

ed a

bout

litt

le e

lse.

Fro

m w

hat h

e ha

d ga

ther

ed, t

he A

ustin

7 w

as a

ne

w t

ype

of a

utom

obile

—a

mac

hine

with

four

whe

els

that

Ear

thlin

gs

used

to tr

avel

long

dis

tanc

es. I

t had

sea

ts fo

r pa

ssen

gers

, and

one

pa

ssen

ger

oper

ated

the

mac

hine

by

turn

ing

a fi f

th w

heel

and

ste

ppin

g on

ped

als

on th

e fl o

or in

fron

t of

his

seat

. Sup

pose

dly,

the

Aus

tin 7

was

un

like

any

othe

r au

tom

obile

that

had

bee

n m

ade.

12

“Y

es, I

kno

w th

at th

e A

ustin

7 is

a n

ew t

ype

of a

utom

obile

.” A

s so

on

as th

e w

ords

esc

aped

his

mou

th, H

erbe

rt k

new

he

shou

ld h

ave

spok

en

with

mor

e en

thus

iasm

.

REA

DIN

G N

OT

ES



[ 221

]C

opyi

ng is

pro

hibi

ted.

Uni

t 2

| L

itera

ture

| m

aste

ryed

ucat

ion.

com

CO

MPA

RE

AN

D C

ON

TR

AST

FO

RM

S A

ND

GEN

RES

Le

sson

22

3. W

hich

sta

tem

ent

best

des

crib

es t

he t

hem

e sh

ared

by

both

sto

ries

?

Ⓐ

Pay

atte

ntio

n to

the

deta

ils.

Ⓑ

Do

not l

ie to

peo

ple

in a

utho

rity.

Ⓒ

Belie

ve in

you

rsel

f ev

en if

you

mak

e m

ista

kes.

Ⓓ

Try

to d

o as

man

y di

ff ere

nt th

ings

as

you

can.

4. W

hich

tw

o de

tails

, one

from

eac

h st

ory,

best

sup

port

s th

e th

eme

shar

ed

by b

oth

stor

ies?

Ⓐ

“Her

bert

’s ha

ppin

ess

imm

edia

tely

turn

ed to

wor

ry o

n hi

s fa

ce, a

nd

Mr.

Pilk

ingt

on w

as v

isibl

y co

nfus

ed.”

(“A

Fai

led

Miss

ion,

” pa

ragr

aph

14)

“‘R

emem

ber

from

now

on

that

failu

res

have

one

pur

pose

, and

th

at’s

to h

elp

us le

arn.

’” (

“The

You

ng W

atch

man

,” p

arag

raph

17)

Ⓑ

“‘R

emem

ber

from

now

on

that

failu

res

have

one

pur

pose

, and

th

at’s

to h

elp

us le

arn.

’” (

“The

You

ng W

atch

man

,” p

arag

raph

17)

“He

wou

ld n

o lo

nger

dou

bt h

imse

lf—an

d he

wou

ld d

efi n

itely

take

th

e tr

ain.

” (“

A F

aile

d M

issi

on,”

par

agra

ph 2

5)

Ⓒ

“Whe

n he

look

ed u

p, h

e sa

w th

at h

e ha

d dr

iven

the

Aus

tin 7

di

rect

ly in

to a

tree

!” (

“A F

aile

d M

issi

on,”

par

agra

ph 1

7)“H

ow st

upid

of h

im fo

r not

bei

ng a

wak

e to

war

n th

e ot

hers

whe

n it

had

been

his

job—

his

only

job!

” (“

The

You

ng W

atch

man

,” p

arag

raph

10)

Ⓓ

“‘I h

ave

lear

ned

an im

port

ant l

esso

n to

day,

Cap

tain

,’ Ja

ck s

aid

to

Cap

tain

Mur

taug

h.”

(“T

he Y

oung

Wat

chm

an,”

par

agra

ph 1

5)“H

e w

ould

no

long

er d

oubt

him

self—

and

he w

ould

defi

nite

ly ta

ke

the

trai

n.”

(“A

Fai

led

Mis

sion

,” p

arag

raph

25)

Ⓒ

Ⓑ

TIP

S A

ND

TR

ICK

ST

he th

eme

can

ofte

n be

the

less

on

a ch

arac

ter

lear

ns in

a te

xt. A

sk

your

self,

“W

hat

do H

erbe

rt a

nd

Jack

kno

w a

t th

e en

d of

the

sto

ry

that

the

y di

d no

t kn

ow a

t th

e be

ginn

ing?

” T

hen

fi gur

e ou

t how

th

ey le

arne

d th

at le

sson

.

[ 220

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

FC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

C

OM

PAR

E A

ND

CO

NT

RA

ST F

OR

MS

AN

D G

ENR

ES

25

A

s H

erbe

rt w

alke

d ba

ck to

wor

k, h

e fe

lt ha

ppy.

He

had

kept

his

true

id

entit

y a

secr

et, a

nd h

e no

w k

new

that

Mr.

Pilk

ingt

on th

ough

t he

was

go

od a

t his

job.

He

wou

ld n

o lo

nger

dou

bt h

imse

lf—an

d he

wou

ld

defi n

itely

take

the

trai

n.

[R

eadi

ng L

evel

: 870

–970

L; W

ord

Cou

nt: 9

86]

1. W

hich

sen

tenc

e be

st d

escr

ibes

how

bot

h m

ain

char

acte

rs s

how

th

e th

eme?

Ⓐ

Both

are

ner

vous

in fr

ont o

f pe

ople

in a

utho

rity.

Ⓑ

Both

do

not l

ike

to tr

y an

ythi

ng d

iffi c

ult.

Ⓒ

Both

dou

bt th

emse

lves

whe

n th

ey m

ess

up.

Ⓓ

Both

car

e to

o m

uch

abou

t wha

t oth

ers

thin

k of

them

.

2. W

hat

spec

ifi c

info

rmat

ion

does

the

aut

hor

prov

ide

earl

y in

the

sto

ries

to

let

you

know

wha

t th

e ge

nre

is?

Wri

te e

ach

deta

il un

der

the

genr

e it

show

s. Y

ou n

eed

not

use

ever

y de

tail.

“to

play

his

par

t and

ser

ve th

e U

nion

arm

y”“A

nd h

e no

w li

ved

on E

arth

—no

t Her

cixx

.”“‘

The

ene

my

ship

is r

ight

ther

e be

fore

us—

why

did

n’t y

ou s

ee it

?’”“C

apta

in T

oixe

rt w

ould

be

furio

us w

hen

he r

etur

ned

to th

e sp

aces

hip.

”“T

he ta

ll m

an w

earin

g th

e pl

ain

blac

k su

it pa

used

at t

he s

ound

of

som

eone

yel

ling.

”“W

hen

the

Nor

th a

nd S

outh

wen

t to

war

”

“TH

E YO

UN

G W

ATC

HM

AN

”

HIS

TORI

CAL

FIC

TIO

N

“A F

AIL

ED M

ISSI

ON

”

SCIE

NCE

FIC

TIO

N

“Whe

n th

e N

orth

and

S

outh

wen

t to

war

”“A

nd h

e no

w li

ved

on

Ear

th—

not H

erci

xx.”

“to p

lay

his

part

and

serv

e th

e U

nion

arm

y”“C

apta

in T

oixe

rt w

ould

be

furio

us w

hen

he re

turn

ed to

th

e sp

aces

hip.

”

1.

Ⓒ

TH

INK

ABO

UT

ITT

hink

abo

ut w

hat e

ach

of t

he m

ain

char

acte

rs d

oes.

Whi

ch o

f the

se

sent

ence

s de

scri

bes

som

ethi

ng

both

cha

ract

ers

do?



[ 223

]C

opyi

ng is

pro

hibi

ted.

Uni

t 2

| L

itera

ture

| m

aste

ryed

ucat

ion.

com

CO

MPA

RE

AN

D C

ON

TR

AST

FO

RM

S A

ND

GEN

RES

Le

sson

22

7. W

rite

a p

arag

raph

com

pari

ng t

he li

mita

tions

and

adv

anta

ges

of s

how

ing

a th

eme

usin

g th

e tw

o ge

nres

you

rea

d—hi

stor

ical

fi ct

ion

and

scie

nce

fi ctio

n.

Use

exa

mpl

es fr

om t

he t

exts

to

supp

ort

your

ans

wer

.

Sam

ple

resp

onse

: Bot

h ge

nres

giv

e th

e w

riter

a lo

t of

free

dom

to s

how

them

e th

roug

h th

e se

tting

, ch

arac

ters

, and

plo

t, bu

t his

toric

al fi

ctio

n is

lim

ited

to

actu

al h

isto

rical

fact

s. F

or e

xam

ple,

the

“pow

der

mon

keys

” in

“The

You

ng W

atch

man

” wer

e re

al

peop

le in

the

Civ

il W

ar—

the

auth

or c

ould

not

mak

e up

ne

w k

inds

of j

obs

that

did

not

exi

st in

the

Civ

il W

ar.

The

auth

or c

ould

not

sho

w th

e th

eme

by m

akin

g Ja

ck

an a

irpla

ne p

ilot b

ecau

se a

irpla

nes

did

not e

xist

. Sc

ienc

e fi c

tion

lets

the

writ

er m

ake

up ju

st a

bout

an

ythi

ng h

e or

she

wan

ts b

ecau

se s

cien

ce fi

ctio

n is

of

ten

set i

n th

e fu

ture

or i

nvol

ves

crea

ture

s fro

m o

ther

w

orld

s. In

“A F

aile

d M

issi

on,”

the

writ

er m

ade

up a

nal

ien

pret

endi

ng to

be

hum

an a

nd a

kin

d of

spa

cesh

ipca

lled

“the

KRW

-400

0.” O

ne li

mita

tion

with

sci

ence

fi c

tion

mig

ht b

e th

at w

hate

ver t

he w

riter

mak

es u

p ha

s to

at l

east

be

belie

vabl

e to

the

read

er. T

his

way

th

e re

ader

can

focu

s on

the

them

e ra

ther

than

the

stra

nge

deta

ils o

f the

sto

ry.

7.

[ 222

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

FC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

C

OM

PAR

E A

ND

CO

NT

RA

ST F

OR

MS

AN

D G

ENR

ES

5. W

hich

sen

tenc

e be

st e

xpla

ins

how

the

mai

n ch

arac

ters

in b

oth

stor

ies

com

e to

hav

e co

nfi d

ence

in t

hem

selv

es?

Ⓐ

Her

bert

and

Jack

bot

h ne

eded

to s

ucce

ed a

t som

ethi

ng in

ord

er to

le

arn

to h

ave

confi

den

ce in

them

selv

es.

Ⓑ

Oth

er c

hara

cter

s—M

r. Pi

lkin

gton

and

Cap

tain

Mur

taug

h—he

lp

Her

bert

and

Jack

lear

n to

hav

e co

nfi d

ence

in th

emse

lves

.

Ⓒ

Her

bert

and

Jack

bot

h cr

eate

a p

robl

em th

at th

ey h

ave

to s

olve

by

them

selv

es, a

nd th

is g

ives

them

con

fi den

ce.

Ⓓ

Her

bert

and

Jack

ove

rcom

e in

terf

eren

ce b

y ot

her

char

acte

rs—

Mr.

Pilk

ingt

on a

nd C

apta

in M

urta

ugh—

to le

arn

to h

ave

confi

den

ce

in th

emse

lves

.

6. A

rea

der

coul

d m

ake

the

infe

renc

e th

at M

r. Pi

lkin

gton

mig

ht h

ave

been

aw

are

of H

erbe

rt’s

secr

et. W

rite

a s

hort

par

agra

ph t

hat

cite

s ev

iden

ce

from

the

tex

t in

sup

port

of t

he a

bove

infe

renc

e.

Stud

ent a

nsw

ers

will

vary

but

sho

uld

incl

ude

“so

wha

t do

you

say

abou

t you

letti

ng m

e bu

y yo

u lu

nch

toda

y?” a

nd “I

t’s c

alle

d an

Aus

tin 7

—ha

ve y

ou e

ver

hear

d of

it?

Mr.

Pilk

ingt

on c

huck

led

and

poke

d H

erbe

rtin

the

ribs.

” “W

hat,

Her

b? Y

ou d

on’t

wan

t to

driv

e an

Aust

in 7

? Yo

u kn

ow h

ow to

driv

e, d

on’t

you?

”

Ⓑ

6.



[ 224

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

FC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

C

OM

PAR

E A

ND

CO

NT

RA

ST F

OR

MS

AN

D G

ENR

ES

EXIT

TIC

KET

Now

tha

t yo

u kn

ow h

ow t

o co

mpa

re a

nd c

ontr

ast

genr

es,

let’s

rev

isit

the

Real

-Wor

ld C

onne

ctio

n an

d Le

na’s

stor

y of

the

di

scov

ery

of a

met

al b

ox.

Lena

’s st

ory

can

be e

ither

fant

asy

or r

ealis

tic fi

ctio

n. S

he h

as

not

mad

e up

her

min

d ye

t ab

out

whi

ch d

irect

ion

she

will

tak

e th

e st

ory.

She

does

kno

w t

hat

it w

ill in

volv

e fi n

ding

a s

eale

d m

etal

box

in h

er b

acky

ard.

She

kno

ws

it w

ill in

volv

e as

king

her

be

st fr

iend

, Pet

er, f

or h

elp.

Bra

inst

orm

a li

st o

f ide

as—

fant

asy,

real

istic

fi ct

ion,

or

both

—of

wha

t co

uld

happ

en w

hen

Lena

and

Pet

er o

pen

the

box.

Sam

ple

answ

ers:

Pet

er a

nd L

ena

are

trans

ferr

ed to

a d

iffer

ent t

ime

perio

d.P

eter

and

Len

a op

en th

e bo

x to

dis

cove

r a w

orld

insi

de.

Pet

er a

nd L

ena

disc

over

pho

togr

aphs

bur

ied

by th

e pr

evio

us o

wne

r of

her h

ouse

.P

eter

and

Len

a di

scov

er a

tim

e ca

psul

e.

RL.6

.9



TEACHER NOTESREAL-WORLD GOALS FOR STUDENTS• Compare diff erent genres.

• Contrast the diff erent approaches each genre uses for a particular theme or topic.

TIPS FOR THE STRUGGLING LEARNER• Students may not have prior knowledge of the moon landing. Be sure to provide context

and background knowledge on the topic before reading the stories in the lesson.

• For additional support, provide students with a list of key elements in each genre that they can use as a reference in determining the genre of a story.

TIPS FOR THE ENGLISH LANGUAGE LEARNER• English learners may have diffi culty deciding which information is valuable in understanding

the theme of the text. For the passage “Armstrong’s Boot,” have students work in pairs to discuss the underlined sentences in the text.

• Some English learners may fi nd determining the theme challenging if they do not have adequate background knowledge of the reading passages. Encourage them to look online at websites, both in English and in their native language, about space travel.

ACTIVITIES FOR THE ADVANCED LEARNER• Ask students to brainstorm topics for short stories based on their favorite genres.

• From their list, challenge the students to write their short stories.



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