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Six Weeks Unit Plan8th Grade language arts, mainstream classroom
Unit Theme: “Coming of Age” Unit Focus: Teaching writing through literature
Unit IntroductionFocus –contentFilm excerpts and story, The Fox and the Hound;
SSR
“The Treasure of Lemon Brown” Myers;
SSR
Excerpts of “The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African” Equiano;
SSR
“The Drummer Boy of Shiloh” Bradbury and Roll of Thunder Hear My Cry Taylor;
SSR
Film excerpts:King of the Hill, Soderberg and Roll of Thunder, Hear My Cry continued; SSR
Focus- organization
“Charles” Jacksonand Roll of Thunder, Hear My Cry cont’d;SSR
“An Episode of War” Crane and Roll of Thunder, Hear My Cry cont’dSSR
From I Know Where the Caged Bird Sings Angelou; RoT, HMC cont’d;SSR
“Too Soon a Woman” JohnsonandRoll of Thunder, Hear My Cry cont’dSSR
“The Broken Chain” Soto andRoll of Thunder, Hear My Cry cont’d
SSRFocus- voice Film excerpts and story, The Lion King; Roll of Thunder, Hear My Cry cont’dSSR
“The Road Not Taken” Frost, “All But Blind” de la Mare and “The Choice” Parker;Roll of Thunder, Hear My Cry cont’d SSR
“The Medicine Bag” Sneve and “from ‘Zlata’s Diary’” Filipovic
Roll of Thunder, Hear My Cry cnt’dSSR
ABR’s
SSR
ABR’s
SSR
Focus- word choice
Film excerpt Big MarshallIt’s Not About the Bike ArmstrongSSR
Excerpt from The Adventures of Huckleberry Finn Twain It’s Not About the Bike continuedSSR
Film excerpt Dead Poet’s Society Weirand “Gettysburg Address” LincolnIt’s Not About the Bike continuedSSR
“Grandma Ling” Ling, “Old Man” Sanchez and “The Old Grandfather and His Little Grandson” TolstoyIt’s Not About the Bike continuedSSR
Drama
It’s Not About the Bike cont’d
SSR
Focus-sentence fluencyFilm excerpt Lord of the RingsIt’s Not About the Bike continuedSSR
“Baseball” Garcia and “Hoop Dreams” Ebony MagazineIt’s Not About the Bike continuedSSR
Excerpts from The Chocolate War Cormier
It’s Not About the Bike continuedSSR
Keeping an Insect Zoo” Teale
It’s Not About the Bike continued
SSR
“Camp Harmony”Sone
It’s Not About the Bike continued
SSR
Focus- conventions“Ring Out Wild Bells” Tennyson, “Winter Moon” Hughes, and “Poets to Come” WhitmanSSR Essay work
“From ‘Email from Bill Gates’” Seabrook It’s Not About the Bike continuedSSREssay work
“How to Be Polite Online” Shea
Group work-essay project
SSR
“Mathematics” Namioka
ABR’sGroup work- essay projectSSR
Essay projects complete
ABR’s
SSR
Mandy Martin
Dr. Cope
ENGL 7701
22 July 2003
Research Narrative
Coming of Age Unit Plan
I have always heard the saying, “Growing up is hard to do.” Looking back on my life, I
find that to be true. Today, the education field puts forth great effort to help kids through the
trials of adolescence. The theme, “Coming of Age,” seems to be built into many literature books
for this reason. According to Rhoda J. Maxwell and Mary Jordan Meiser, authors of Teaching
English in Middle and Secondary Schools, teaching thematically enhances student understanding
and personal connection to the texts. In their book, they state that the “interaction among the
[language arts] is the foundation for planning the curriculum. For instance, a unit on listening is
a poor way to teach the skills of listening” (406). Listening is part of the entire curriculum, not
just one unit. Teaching students to realize the concept of listening is part of everything they do
empowers them in and out of the classroom. Robert C. Goldbort said that “the thematic
approach reflects a concern with the personal growth of the reader/writer versus an emphasis on
specific literary works as objects worthy of study for their own sake” (72). Jean Brown and
Elaine Stephens’ book, Teaching Young Adult Literature: Sharing the Connection, reiterates the
need to replace traditional genre units with thematic units. Brown and Stephens claim that
students respond more and retain more when studied by theme. The “Coming of Age” unit thus
allows me to incorporate various genres of literature into a single theme to teach strategies for
writing and reading comprehension, rather than reading the literature just because it is there.
Organizing my unit under a single theme also provides an opportunity to include poetry,
nonfiction, short stories, drama, novels, film, etc. into the six weeks of study. Not every genre is
included every week, but each is present at one point or another in the unit. Research shows that
incorporating different genres within a unit offers students an opportunity to experience smaller
doses of the genres, allowing students to become familiar with and not overworked with one
specific genre (Maxwell & Meiser 408). Amongst the various types of literature, I also choose to
incorporate multicultural literature into the unit. Helen Scott, in her article “Expanding the
Canon: A Multicultural Perspective,” examines the negative and hypocritical effects of how the
majority of text studied in schools consists of writings from old, dead, white guys. She claims
that to reach all students, “some [multicultural] writers are able to capture and express human
experiences, desires, and conflicts in ways that speak to diverse people across many boundaries
and eras” (127). Multicultural literature serves as a window into other cultures, many of which
my students belong to. This literature helps students gain understanding about different beliefs
and customs, develop social security among minorities, waiver discrimination, and contribute to
the overall outlook of other cultures as “normal” rather than “exotic” (Otto). Included in the
“Coming of Age” unit are such authors as Maya Angelou, Langston Hughes, Amy Ling, and
Zlata Filipovic, among others. Students gather new concepts and knowledge about the cultures
represented by these authors, aiding them in their worldly outlook.
The “Coming of Age” theme also allows the students to connect with the content of the
story because the characters in the literature experience the same kinds of things the students are
presently experiencing. Researchers such as A.N. Applebee, and J.D. Cooper suggest the
importance of connecting to literature in their studies. Brown and Stephens offer an entire
chapter in their book to connecting students with literature. Making connections not only aids
the enjoyment of the work, but also increases reading comprehension, according to Stephanie
Harvey and Anne Goudvis, authors of Strategies that Work. Their book explains that proficient
readers know how to connect, question, visualize, predict, infer, and synthesize with text to make
meaning. Owning these skills allow students to engage any text, not just those in classroom.
Using the principles set forth in Strategies that Work, Louise Rosenblatt’s theory of readers
being as important to a text as the text itself is utilized. Finally, the availability of texts and other
media dealing with this theme abounds and gives me leeway in picking the best works to
implement in my classroom.
Teaching eighth grade, my classroom consists of the mainstream student as well as target
and inclusion level students. I therefore teach students with a wide range of abilities in my room,
forcing me to choose a variety of texts both in difficulty level and in interest for students. For
example, I pull excerpts from Disney classics such as The Fox and the Hound as well as excerpts
from a high school level novel by Mark Twain, The Adventures of Huckleberry Finn for this unit.
Maxwell and Meiser state that “research studies show that in environments where instruction is
compatible with one’s learning style, students learn more and retain that learning longer (24).
Maxwell and Meiser also encourage thematic units to include two or three different reading
levels per unit to foster success in reading for every student. Students need to feel a part of the
class no matter the level, so including literature of differing reading levels is critical (424).
Using research including Bloom’s taxonomy and multiple intelligences, teaching suggestions in
Maxwell and Meiser’s book, different methods and strategies discussed below in instruction, and
individual modifications, each student has the opportunity to be successful in my classroom.
Within the theme of “Coming of Age,” I use the literature to focus on student writing in
order to prepare for the eighth grade writing test. I apply the six trait writing rubric from Dr. Jim
Cope to show students the components of the writing. Each week I introduce a specific
component of writing to the students using various pieces of literature to enhance and model the
given aspect of writing. For example, during the first week students learn about the importance
of content in writing. I use an assortment of stories, poems, etc. to show students both positive
and negative content and what makes it positive or negative. I use Olaudah Equiano’s narrative
to show the importance of accurate, quality details in writing, for example. Students then make
use of class time to complete various writing activities concerned with content. Why did I
choose to use literature to teach writing in this manner? Studies show that using literature to
teach writing enhances students’ abilities to both read and write. Reading like a writer and
writing like a reader are crucial for students to truly learn how to read and write effectively,
according to Toby Fulwiler and William A. Stephany, authors of English Studies: Reading,
Writing and Interpreting Texts. These authors write that “realizing that published words were
written by men and women pretty much like yourself . . . can change the way you read. . .”(7).
They further discuss in their book that looking at literature as a “made” work allows the reader to
see it as a writer, noticing the use of content, organization, voice, word choice, sentence fluency,
and conventions made by the author. These writing elements are thus studied in the readings and
transformed into a students’ own writing. In other words, by reading like a writer, writing skills
improve. Therefore, I use literature and writing concepts to teach students how to write to the
best of their abilities.
The literature utilized throughout the unit includes fiction, nonfiction, drama, film,
speeches, essays, poetry, biographies, and more. I include all genres within the theme so
students may see that all types of written works use each aspect of the writing: content,
organization, voice, word choice, sentence fluency, and conventions. Even though we focus on
writing prose as our final outcome of the unit, students need to understand how the same process
applies to poetry, film, etc. The details in a poem are just as important as they are in prose.
Hopefully, students will gain a sense of appreciation and comfort studying poetry and other
literary forms with this approach.
Using information I learned in classes this semester, I teach this unit based upon
researched best practices as much as possible. Textbooks such as Strategies that Work, On
Writing Well, and Image Grammar, to name a few, are relied upon heavily. These texts offer
proven strategies and lesson plans I am incorporating into the classroom. Strategies that Work
assists in reading comprehension strategies to enhance understanding. On Writing Well, by
William Zinsser discusses components to correctly write nonfiction. At the end of the unit,
students complete a narrative using many of Zinsser’s techniques such as simplicity, eliminating
clutter, style, audience, words, and usage. He also focuses on introductions and conclusions in
his book. His ideas provide needed guidance to the final narrative essay students write. Harry
Noden’s Image Grammar, specifically brushstrokes, allows students to learn grammar
techniques within their writing. The brushstrokes are implemented into the writing activities
throughout the unit plan. Each of these sources, along with other texts and research, enhance the
effectiveness of my teaching.
In class, I incorporate much of the literature instruction through literature circles. The
two novels, Roll of Thunder, Hear My Cry, by Mildred Taylor, and It’s Not About the Bike, by
Lance Armstrong, are discussed and read using literature circles. Within the literature circles,
each member of the group takes a job to complete. The novel readings and job assignment are
read as homework. During class, the literature circles discuss the novel reading and each
member’s assignment. Following group discussions, whole class discussions and debates
continue as a large group. Each day the jobs shift according to the syllabus provided. This way,
students share the responsibilities of every job. Research abounds with knowledge about the
effectiveness of literature circles in the classroom. For example, “Changing the classroom
climate with literature circles,” by Bonnie Burns, discusses the social and emotional benefits of
literature circles. Students feel more comfortable offering opinions and asking questions in a
smaller setting, not to mention feeling part of a group. Students also learn from each other’s
ideas about the reading. Giving each member of the group a job also keeps all students
accountable to the group: one student can not do all the work.
As a final project with one of the novels, students will complete an ABR, alternative
book report. Half of the class, after drawing names, completes an ABR on the first novel, and
the other half completes it on the second novel. I learned about and completed two ABR’s this
semester in Dr. Cope’s class. I heard of these in my undergraduate program, but did not fully
understand how to implement them in the classroom. Now, I use the same rubric and criteria as
Dr. Cope for these projects. ABR’s offer students something other than the typical research
paper book report. Book reports are so widely used that students know how to do them by the
third grade. I would rather my students dig deeper into the text and complete a more creative
assignment that actually teaches the class about the reactions and connections to the book instead
of a simple summary. Brown and Stephens offer a multitude of ideas and strategies in their book
as alternatives to book reports, agreeing that the research paper is not always the best option.
Hopefully, the ABR gets students involved, and they may even have a little fun. Students also
get the opportunity to complete a presentation because they must present their ABR to the class.
Using Speaking with Confidence by Vassile and Mintz, I teach students at the beginning of the
unit how to speak in front of a group. With endless possibilities, students thrive using ABR’s.
Reading response strategies, based upon research by Louise Rosenblatt, are an important
part of the classroom. In Transactions with Literature: A Fifty-Year Perspective, the authors
discuss the roles of the reading response classroom and how Rosenblatt’s work has influenced
the study of literature. Incorporating student ideas, background knowledge, and experiences
enhances their learning. I use response journals to teach the literature in a multitude of ways.
Students predict using journals and respond to their predictions after reading the story. Response
journals, as in Dr. Cope’s class, are incorporated as well. The many types of journals found in
the C.R.I.S.S. strategy series and in “Chapter One” of English Studies, aids journaling in my
room. I also found information regarding the importance of journaling in Charles Bazerman’s
The Informed Writer: Using Sources in the Disciplines and Kathleen Andrasick’s Opening Texts:
Using Writing to Teach Literature. For this unit, students use journaling to write about their
reading. After students become familiar with the aspects of writing found in the reading, they
expand their journals to incorporate this new knowledge and how it helps their writing. Both
English Studies and the C.R.I.S.S. strategy program support this use of journaling as a positive
response method in classrooms.
Beyond the reading strategies mentioned, I use mini-lessons to incorporate the
brushstrokes and any needed grammar reminders into the lessons. Mini-lessons allow me to
briefly touch on a concept when necessary for understanding. These lessons also help implement
elements of literature as we proceed throughout the unit. Mini-lessons, according to Nancy
Atwell’s In the Middle, and Lucy Calkin’s The Art of Teaching Writing, are vital in bringing bits
of information that will aid readers and writers. These brief lessons do not overwhelm students
yet give them needed material to better understand the text or writing. Mini-lessons do not occur
everyday of the unit, but when needed to present concepts such as participle usage or
characterization in a story.
Large group reading and activities allow me to teach all of my students at one time. In
the “Coming of Age” unit, several film excerpts and drama are introduced to enhance the
literature and writing. These media are shown or performed in a large group setting. The use of
film and drama in the language arts classroom enhances the art of speaking, viewing and
listening. In Reel Conversations: Reading Films with Young Adults, Alan B. Teasley and Ann
Wilder discuss the importance of film in the classroom. Some reasons to use film include the
following: students have positive, prior knowledge with film; film is used already in the
classroom, mostly as a disservice; it has a rightful place in the classroom; viewing film provides
an opportunity to write and discuss; and there is a growing interest in using varying media in the
English classroom (4-7). Students love to watch movies, and love it even more when they learn
and understand principles to reading the film.
While enjoying and learning about the literature and film, students focus on the aspects of
writing found in the text. To reinforce strategies taught, each day students engage in writing
activities. Each day’s activity varies, and the focus changes each week. Throughout the unit,
however, students begin and finish a completed formal essay. This narrative essay builds as each
week progresses, using nonfiction as well as other literature to produce a final product at the end
of the unit. Students also present their papers to the class in a formal presentation. Presentation
skills will have been taught prior to the unit and reviewed at the end of the unit. Brushstrokes
will be included in the writing as well as the aspects of a narrative paper.
In accordance with best practice, students read the different texts in various ways
throughout the unit. The two novels will be read silently and independently at home. Students
then use literature circles to discuss the texts. Texts read in class will vary depending on the
class. Most literature will be read and discussed aloud in class by the teacher and students.
Reading aloud to children has been found to be beneficial to students, according to research by
Sharon Stringer and Bill Mollineaux. Stinger and Mollineaux also suggest that not being read to
as a child is a factor in children becoming reluctant readers. Most people enjoy being read to,
and it allows those students who dislike reading aloud to avoid stress. Many students are
embarrassed or too shy to read aloud, so I will not force any student to read aloud. Instead, those
students may offer feedback, opinions, etc. as a response in class after the reading. In this unit
some in-class literature is read in the same literature circles used for the novels. This allows text
that may be more difficult to be discussed in the safety of the literature circle group prior to large
group discussion.
Generally, during the first two says of the week, I read aloud to the students, introduce
and model the information, and include large-group discussion. The middle of the week
branches off into small group work, and by the end of the week, students work individually for
the majority of class. This way, each student has ample support and opportunity for questions
before working on his or her individual writing.
The final aspect of each day’s class is the SSR time, or Silent Sustained Reading. At the
end of class every day, without fail, students are given time to read silently. They may choose
anything to read as long as it is school appropriate, that is, not vulgar, etc. By giving them a
choice to read whatever they want, I am fostering a positive reading environment, hopefully,
furthering their desire to read independently. Research, such as that preformed by Carolyn
Colvin and Pamela Ross in their article, “In the Classroom,” supports using SSR as a reading
strategy for the above reasons. The research also shows that SSR works best when the teacher
also participates in the reading. Therefore, I also read during this time. I experienced first-hand
in Dr. Cope’s class the positive effects that the teacher has on students by reading with them. It
shows students that there is a purpose to the activity and that it is important. This is why I will
stop my classroom every day for the Silent Sustained Reading time.
The “Coming of Age” unit presented here is designed to teach students the language arts
of reading, writing, speaking, listening, and viewing. Using textbooks, strategies, articles,
colleagues, research, and other resources, I created a research-based unit to engage student in
learning. I hope to help students learn the skills and concepts to improve their abilities, rather
than teach them a story. Encouraging and eager, I believe this overall unit plan does just that. I
understand the process to becoming the best teacher I can be, and this unit plan is a starting point
on which I will continue to build my knowledge and instruction.
Works Cited Page
LITERATURE IN UNIT PLAN
Angelou, Maya. “From ‘I Know Where the Caged Bird Sings.’” Prentice Hall Literature:
Timeless Voices,
Timeless Themes: Silver level. Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice
Hall, 2002. 32-43.
Armstrong, Lance and Sally Jenkins. It’s Not About the Bike: My Journey Back to Life. USA:
Penguin Group,
2000.
Big. Dir. Penny Marshall. Perf. Tom Hanks and Elizabeth Perkins. 20th Century Fox, 1988.
Bradbury, Ray. “The Drummer Boy of Shiloh.” Prentice Hall Literature: Timeless Voices,
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Silver level. Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 6-12.
Cormier, Robert. The Chocolate War. New York: Laurel Leaf, 1974.
Crane, Stephen. “An Episode of War.” Prentice Hall Literature: Timeless Voices, Timeless
Themes: Silver
level. Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 16-21.
Dead Poets Society. Dir. Peter Weir. Perf. Robin Williams, Robert Sean Leonard, and Ethan
Hawke.
Touchstone/Disney, 1989.
De la Mare, Walter. “All But Blind.” Prentice Hall Literature: Timeless Voices, Timeless
Themes: Silver level.
Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 46-47.
Ebony Magazine. “Hoop Dreams.” Nonfiction Readings Across the Curriculum. Upper Saddle
River:
Prentice Hall, 2000.
Equiano, Olaudah. “The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus
Vassa, the African.”
The Norton Anthology of American Literature 4th ed. Ed. Nina Baym, et al. New York:
W.W. Norton & Company, 1994. 764-796.
Filipovic, Zlata. “From ‘Zlata’s Diary: A Child’s Life in Sarajevo.’” Nonfiction Readings
Across the
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Frost, Robert. “The Road Not Taken.” Prentice Hall Literature: Timeless Voices, Timeless
Themes: Silver
level. Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 44-45.
Garcia, Lionel G. “Baseball.” Prentice Hall Literature: Timeless Voices, Timeless Themes:
Silver level. Ed.
Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 624-627.
Hughes, Langston. “Winter Moon.” Prentice Hall Literature: Timeless Voices, Timeless
Themes: Silver level.
Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 79.
Jackson, Shirley. “Charles.” Prentice Hall Literature: Timeless Voices, Timeless Themes: Silver
level. Ed.
Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 22-31.
Johnson, Dorothy M. “Too Soon a Woman.” Elements of Literature: Second Course. Ed.
Robert Anderson, et
al. Austin: Holt, Rinehart, & Winston, 1997. 547-554.
King of the Hill. Dir. Steven Soderberg. 1993.
Lincoln, Abraham. “The Gettysburg Address.” Elements of Literature: Second Course. Ed.
Robert Anderson,
et al. Austin: Holt, Rinehart, & Winston, 1997. 623-625.
Ling, Amy. “Grandma Ling.” Prentice Hall Literature: Timeless Voices, Timeless Themes:
Silver level. Ed.
Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 68-69.
Lord of the Rings: The Fellowship of the Ring. Dir. Peter Jackson. Perf. Elijah Wood, Ian
McKellen, and Ian
Holm. New Line, 2001.
Myers, Walter Dean. “The Treasure of Lemon Brown.” Elements of Literature: Second Course.
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Anderson, et al. Austin: Holt, Rinehart, & Winston, 1997. 93-102.
Namioka, Lensey. “Mathematics.” Nonfiction Readings Across the Curriculum. Upper Saddle
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Hall, 2000.
Parker, Dorothy. “The Choice.” Prentice Hall Literature: Timeless Voices, Timeless Themes:
Silver level. Ed.
Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 48-49.
Sanchez, Ricardo. “Old Man” Prentice Hall Literature: Timeless Voices, Timeless Themes:
Silver level. Ed.
Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 70-71.
Seabrook, John. “From ‘E-mail from Bill Gates.’” Prentice Hall Literature: Timeless Voices,
Timeless
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54-60.
Shea, Virginia. “How to Be Polite Online.” Prentice Hall Literature: Timeless Voices, Timeless
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Silver level. Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002. 62-67.
Sneve, Virginia Driving Hawk. “The Medicine Bag.” Prentice Hall Literature: Timeless
Voices, Timeless
Themes: Silver level. Ed. Kinsella, Kate, et al. Upper Saddle River: Prentice Hall, 2002.
582-592.
Sone, Monica. “Camp Harmony.” Elements of Literature: Second Course. Ed. Robert
Anderson, et al.
Austin: Holt, Rinehart, & Winston, 1997. 637-643.
Soto, Gary. “Broken Chain.” Elements of Literature: Second Course. Ed. Robert Anderson, et
al. Austin:
Holt, Rinehart, & Winston, 1997. 29-36.
Taylor, Mildred D. Roll of Thunder, Hear My Cry. New York: Puffin Books, 1976.
Teale, Edwin Way. “Keeping an Insect Zoo.” Nonfiction Readings Across the Curriculum.
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River: Prentice Hall, 2000.
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The Fox and the Hound. Dir. Ted Berman. Perf. Richard Rich, Art Stevens, and Mickey
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---. Adapted by Don Ferguson. Walt Disney Company.
The Lion King. Dir. Roger Allers. Perf. James Earl Jones and Jeremy Irons. Disney, 1994.
---. Adapted by Don Ferguson. Walt Disney Company, 1994.
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RESEARCH and SUPPORT
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Andrasick, Kathleen Dudden. Opening Texts: Using Writing to Teach Literature. Portsmouth:
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Schools Doing?”
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Atwell, Nancie. In the Middle: Writing, Reading, and Learning with Adolescents. Portsmouth:
Heinemann,
1987.
Bazerman, Charles. The Informed Writer: Using Sources in the Disciplines. 2nd ed. Boston:
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Brown, Jean E. and Elaine C. Stephens. Teaching Young Adult Literature: Sharing the
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Burns, Bonnie. “Changing the Classroom Climate with Literature Circles.” Journal of
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Cooper, J. D. “ Activating and Developing Prior Knowledge.” Literacy: Helping Construct
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Cope, Jim. “Personalized 6-trait Model.” Writing rubric. Kennesaw State University. ENGL
7701. Summer,
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Erikson, Barbara. “Read-alouds Reluctant Readers Relish.” Journal of Adolescent Literacy
40.3 (1996): 212
216.
Farrell, Edmund J. and James R Squire. Transactions with Literature: A Fifty-Year Perspective.
Urbana:
National Council of Teachers of English, 1990.
Fulwiler, Toby and William A. Stephany. English Studies: Reading, Writing, and Interpreting
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Goldbort, Robert C. quoted in . Teaching English in Middle and Secondary Schools. 2nd ed.
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Harvey, Stephanie and Anne Goudvis. Strategies that Work: Teaching Comprehension to
Enhance
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Maxwell, Rhoda J. and Mary Jordan Meiser. Teaching English in Middle and Secondary
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Noden, Harry. Image Grammar: Using Grammatical Structures to Teach Writing. Portsmouth:
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1999.
Otto, Amanda. “Multicultural Literature.” PowerPoint Presentation. Dr. Jim Cope’s Class.
Kennesaw State
University. Humanities: Room 238. 10 July 2003.
Rosenblatt, Louise. Literature as Exploration. 5th ed. New York: Modern Language
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Santa, Carol M., et al. Project C.R.I.S.S. Dubuque: Kendall/Hunt, 1988.
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Stringer, Sharon and Bill Mollineaux. “Removing the Word ‘Reluctant’ from ‘Reluctant
Reader’.” English
Journal 92.4 (2003): 71-76.
Teasley, Alan B. and Ann Wilder. Reel Conversations: Reading Films with Young Adults.
Portsmouth:
Heinemann, 1997.
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Zinsser, William. On Writing Well: The Classic Guide to Writing Nonfiction. New York:
Harper Collins, 1976.
“Coming of Age” Thematic Unit QCC’s
GRAMMAR and USAGE
Standard 1: Writes sentences according to purpose: declarative, interrogative, imperative, and
exclamatory.
Mini-lessons and review
Writing activities and literature instruction
Standard 2: Recognizes the functions of the eight parts of speech.
Mini-lessons and review
Image Grammar strategies
Standard 11: Applies standard rules of capitalization and punctuation.
Literature instruction and writing activities
Mini-lessons and modeling
LITERATURE
Standard 23: Uses literary elements and techniques such as plot, setting, theme, character,
characterization, conflict, figurative language, and point of view to analyze literature.
Mini-lessons
Strategies in Strategies that Work
Standard 26: Analyzes differences between fiction and nonfiction.
PowerPoint presentation
Strategies in On Writing Well
Standard 29: Responds creatively to literature (e.g., drama, art, multi-media projects, and essays)
ABR’s
Narrative essay
Standard 30: Identifies and chooses literature according to personal interests.
Book pass
SSR
READING
Standard 33: Expands Reading Vocabulary
By reading and identifying words not known
Strategies in Words, Words, Words
Standard 38: Adjusts reading speed according to purpose and rereads for comprehension
Model for students
Strategies that Work
Standard 41: Makes comparisons, predictions, and generalizations and draws conclusions.
Strategies that Work, Literature circles
Modeling and reciprocal teaching
Standard 44: Applies reading strategies (e.g., literal comprehension, context clues, and main
ideas) to specific content material and subject matter.
Strategies that Work, C.R.I.S.S. strategies
Modeling and reciprocal teaching,
Standard 45: Analyzes differences between fiction and nonfiction.
PowerPoint Presentation
On Writing Well, Literature text
SPEAKING
Standard 57: Communicates effectively through oral expression.
Modeling
Speaking with Confidence strategies
Standard 59: Demonstrates a sense of audience in preparing and delivering oral presentations.
Modeling
Speaking with Confidence strategies
Standard 60: Makes presentations from prepared materials.
Speaking with Confidence strategies
Writing workshops
Standard 62: Uses nonverbal cues effectively (e.g., gestures, body language, and facial
expressions).
Speaking with Confidence strategies
Practice
WRITING
Standard 64: Uses a writing process that includes prewriting, drafting, revising, editing (can
involve peer editing), proofreading, and publishing.
Graphic organizers, take students through process using modeling
Strategies that Work, On Writing Well, C.R.I.S.S. strategies
Practice
Standard 65: Writes paragraphs that include unifying ideas and supporting details (may include
topic sentence and clincher sentence).
How to write a paragraph- Beach Strategy
Mini-lessons
Writing activities
Standard 69: Writes with organization, style, and a sense of audience.
Literature instruction looking at how authors write
Writing activities and modeling
Standard 71: Uses descriptive words and phrases.
Literature instruction looking at how authors write
Image Grammar
Modeling and writing activities
Standard 73: Applies grammatical and mechanical conventions to writing.
Literature instruction looking at how authors write
Image Grammar
Modeling and writing activities