CALIFORNIA

English Language Arts at a Glance Grades 6–12

Transforming Teaching Practices and Student Learning

Engage Students. Energize Learning.

Planning the unitcontinued

Unit Resources at a Glance

“The Road Not Taken,” by Robert Frost“Choices,” by Nikki Giovanni“The Scholarship Jacket,” by Marta SalinasFrom Bad Boy, by Walter Dean Myers“Why Couldn’t I Have Been Named Ashley?” By Imma Achilike“Phaethon,” by Bernard Evslin“Arachne,” by Olivia E. Coolidge“The Burro and the Fox,” by Angel Vigil“Huveane and Clay People,” by Tony Allan, Fergus Fleming, and Charles Phillips“Mbombo,” by Tony Allan, Fergus Fleming, and Charles Phillips“Raven and the Sources of Light,” by Donna Rosenberg

Timed Writing: Personal Narrative DraftExpository Writing Prompts•Compare narrators’ reflections.•Summarize what the narrator learns.•How do choices drive a story to its

conclusion?Narrative Writing Prompts•Brainstorm choices you have made.•Narrate an incident of choice.

Language and Writers CraftSentence Variety Coherence Punctuating Coordinate AdjectivesPronouns and Antecedents

Grammar and Usage PunctuationCompound-Complex SentencesCommasPronoun Antecedents

Strategy Introduction Speaking and Listening Family Connections

Metacognitive Markers Adding by Looping Diffusing

Collaborative Group Discussion Writing GroupsThink-Pair-Share

Suggestions for Independent ReadingFamily Letters (English and Spanish)Student Reports

English Language Development Independent Reading Assessments

Leveled Differentiated InstructionELD Graphic OrganizersSpringBoard English Language Development, Student Edition, Grade 7, Unit 1SpringBoard English Language Development, Teacher Edition Grade 7, Unit 1

Independent Reading LinksIndependent Reading CheckpointsIndependent Reading LogReader/Writer NotebookSuggestions for Independent Reading

Check Your Understanding Writing PromptsEmbedded Assessment One: Revising a Personal Narrative About ChoiceEmbedded Assessment Two: Creating an Illustrated MythShort-Cycle Assessments

Unit Assessments

SpringBoard Writing Workshop with Grammar Activities, Grade 7

SpringBoard Close Reading Workshop, Grade 7

Routines for Teaching Foundational Skills

Writing Workshop 1: The Writing Process: Strategies for WritingWriting Workshop 4: Narrative Writing: Short StoryWriting Workshop 7: Narrative NonfictionGrammar Activities: Unit 1Grammar Handbook

Close Reading Workshop 1: Close Reading of Informational/Literary Nonfiction TextsClose Reading Workshop 3: Close Reading of Poetry

Phonics and Word Recognition

Mini-lessons

Fluency Mini-lessons

Readings Writing Tasks Language Skills

Unit 1 •  Planning the Unit  1e

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

TCB_LA_TE_L7_U1_Planning_The_Unit.indd 5 15/04/15 8:09 AM

unit

1

AP/College Readiness In this unit, students will focus on refining these important skills and knowledge areas for AP/College Readiness:

•Analyzing literature using the language of literary analysis (Activities 1.3, 1.11)

•Making careful observations of textual detail (Activities 1.11, 1.14)

•Reading widely from fiction and nonfiction (Activity 1.4, 1.5, 1.15)

•Creating reflective writing (Activities 1.7, 1.8, 1.9)

•Using strategies to revise the content and organization of a text (Activities 1.6, 1.7, 1.8, 1.9)

ContextIn this unit, students explore the art of story telling as readers and writers. They encounter contemporary and classic stories about choices and consequences, and they write about their own real and imagined experiences. Students think figuratively and creatively, and they learn to appreciate the writer’s craft through their study and practice. Through attentive study of a published author’s style and craft, students are encouraged to emulate the writing style and techniques in the original narratives and myths they will write.

Instructional SequenceThe instructional sequence begins with an introduction to the concept of choice and key literary terms to guide analysis of model narratives. After studying several narratives to develop an understanding of content, structure, and language, students draft their own narratives and learn how to revise and reflect upon their work. In addition, students use the writing process and work in Writing Groups to generate ideas for revision. These are key skills in preparation for the first Embedded Assessment, Revising a Personal Narrative About Choice.

After completing EA 1, the focus shifts from personal narrative to learning how to create an original illustrated myth. Students analyze a variety of traditional texts to deepen their understanding of the structure of a story, as well as to increase their understanding of character development. Students research mythical gods and goddesses, analyze texts for symbolism, and use visual techniques for effect. Students apply their knowledge of the elements and structure of mythical short stories as they write and illustrate their own myth.

Planning the unit

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 1 •  Planning the Unit  1a

TCB_LA_TE_L7_U1_Planning_The_Unit.indd 1 15/04/15 8:09 AM

Comprehensive Unit Resources at a Glance is included as part of the Planning the Unit feature at the beginning of each unit.

Context and Instructional Sequence tell the story of the unit so teachers understand its purpose.

AP® Connections calls out specific skills and knowledge connected to AP course descriptions and college readiness skills.

Instruction and Pacing Guide clearly show how activities connect to and support the Embedded Assessment.

Independent Reading Lists have been created to enrich and extend each unit.

ELL Support and Leveled Differentiated Instruction mirror the California ELD standards and provide differentiation guidance for specific ELL proficiencies.

Planning the unitcontinued

Instructional Activities and Pacing

1.11 class period

Students begin their study of each unit exploring the major concepts and skills by responding to the unit’s Essential Questions. They assess their level of comfort with the unit’s Academic Vocabulary and Literary Terms. Students revisit the Essential Questions and terms throughout the unit to build their conceptual understanding. While unpacking the Embedded Assessment, students identify the skills and concepts they will need to be successful on Embedded Assessment 1: Revising a Personal Narrative About Choice. With a clear sense of expectations, students will see purpose for their learning and be able to monitor their progress, reflect on their growth, and set personal learning goals.

1.2 1 class period

This activity prepares students for the work they will do in this unit. First, students begin to broaden their understanding of choices, the topic of their personal narrative, by analyzing a variety of thought-provoking quotes. Next, students make choices for independent reading and set reading and writing goals. Finally, students create the cover of their portfolio, which will become a collection of work for students to review, revise, and reflect upon during each unit of instruction.

1.31 class period

Students learn key vocabulary (e.g., figurative language, denotation, connotation, and stanza) in order to analyze a writer’s craft. Next, students analyze two poems to deepen their understanding of choice and consequence, as well as to compare how the writers use diction for effect.

1.43 class periods

Through their analysis of a personal narrative, students learn that successful narratives include a description of the incident, an explanation of the response, and an insightful reflection. After analyzing a fictional personal narrative, students write a summary that focuses on what the narrator has learned.

1.52 class periods

Students learn key vocabulary (e.g., sensory detail and characterization) in order to deepen their understanding of effective writing. Then, students analyze a memoir to further develop their understanding of choice and consequence, elements of narrative, and using language for effect. In this activity, students begin to see how language shapes characters and events; they learn how to create coherence by using transitions to indicate change in time or place; and they learn how to use parallel structure to increase sentence variety. Finally, students apply what they have learned by drafting a personal narrative about choice.

1.62 class periods

In this activity, students learn how to prepare for a timed writing task by unpacking a writing prompt, planning one’s time, and using a prewriting strategy to generate ideas. After responding to the writing prompt, students are ready to revise. To set a purpose, students learn how to use transitions to create internal and external coherence; to create structure, students practice the roles of reader, listener, and writer as they share and respond to drafts in Writing Groups. Finally, students learn how to create a revision plan based on Writing Group feedback.

1.7–1.94 class periods

These activities focus on revision techniques. Students analyze and evaluate the beginning, middle, and end of narratives; they practice techniques (e.g., adding descriptive language and coordinate adjectives) and strategies (e.g., looping) to revise their own draft; and they reflect on their revisions.

Total: 30 class periods Description

Unit 1 •  Planning the Unit  1c

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

TCB_LA_TE_L7_U1_Planning_The_Unit.indd 3 15/04/15 8:09 AM

Planning the unitcontinued

Suggestions for Independent ReadingThis list, divided into the categories of Literature and Nonfiction/Informational Text, comprises titles related to the themes and content of the unit. For their independent reading, students can select from this wide array of titles, which have been chosen based on complexity and interest. You can also encourage students to do their own research and select titles that intrigue them.

Unit 1: The Choices We MakeLiteratureAuthor Title Lexile

Alexie, Sherman War Dances 790L

Anaya, Rudolfo Bless Me, Ultima 840L

Cooper, Susan The Dark Is Rising (series) 920L

Graves, Robert Greek Gods and Heroes 990L

Hamilton, Virginia The People Could Fly: American Black Folktales 660L

Hesse, Karen Witness N/A

Hidier, Tanuja Desai Born Confused 890L

Hijuelos, Oscar Dark Dude 980L

Hinds, Gareth The Odyssey N/A

Hurston, Zora Neale Mules and Men 1020L

Jeffrey, Gary African Myths N/A

Lewis, C.S. The Lion, the Witch and the Wardrobe 940L

Myers, Walter Dean The Greatest: Muhammad Ali N/A

Park, Linda Sue Seesaw Girl 810L

Pierce, Tamora Trickster’s Choice (Daughter of the Lioness, Book 1) 790L

Riordan, Rick The Red Pyramid 650L

Rosenberg, Donna World Mythology: An Anthology of Great Myths and Epics 1030L

Snzai, N.H. Shooting Kabul 800L

Soto, Gary Novio Boy N/A

Whelan, Gloria Homeless Bird 800L

Nonfiction/Informational TextAuthor Title LexileDumas, Firoozeh Funny in Farsi: A Memoir of Growing Up Iranian in America 1030L

Hickam, Homer Rocket Boys/October Sky 900L

Jiang, Ji-Li Red Scarf Girl: A Memoir of the Cultural Revolution 780L

Jimenez, Francisco Breaking Through 750L

Kehret, Peg Small Steps: The Year I Got Polio 890L

Keller, Helen The Story of My Life 1150L

Paulsen, Gary Eastern Sun, Winter Moon: An Autobiographical Odyssey 1080L

Santiago, Esmeralda When I Was Puerto Rican 1020L

1f SpringBoard® English Language Arts Grade 7

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

TCB_LA_TE_L7_U1_Planning_The_Unit.indd 6 15/04/15 8:09 AM

Unit OverviewIf laughter is truly the best medicine, then a study of challenges would not be complete without a close examination of the unique elements of comedy. Overcoming challenges is often easier when we are able to look at the humorous side of life. However, finding humor is not always easy; it can be a challenge in itself. In this unit, you will learn how authors create humor and how they use humor to reveal a universal truth (theme).

UNIT

4

The Challenge of Comedy

Visual Prompt: What makes people laugh?

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 4 • The Challenge of Comedy 247

9781457304644_TCB_LA_SE_L8_U4.indd 247 15/04/15 1:47 AM

UNIT 4

Read aloud the Unit Overview, asking students to mark the text by highlighting words and phrases that help them predict what the unit will be about. Share responses in partner, small-group, or whole-class discussion.

Have students look at the photograph and respond to the visual prompt. You may want to have students think-pair-share to write a short response or discuss their responses as a class.

Teacher TO TeacherAsk students if they can think of times when humor has helped them to overcome a challenge. Why does humor make it easier to deal with life’s challenges?

eLL SupportELD Modes and ProcessesCollaborative: Students work together to analyze an essay and to understand idioms. Students also collaborate to evaluate class performances and to exchange information about creating and evaluating class performances.

Interpretive: Students demonstrate active listening to analyze a comedy. Students also analyze the language in a poem.

Productive: Students write to analyze humor in essays and stories and to compare films. Students also write to summarize a story and to analyze the key idea and details in an informational text.

Structuring Cohesive Texts: Students examine the structure of expository writing. Students also work to add transitions to their writing.

Expanding and Enriching Ideas: Students expand sentences using adverbs and adverb phrases.

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 4 • The Challenge of Comedy 247

aCTIVITy 4.6continued

satirical Humor

6. Reread the text and place an exclamation point by the highly connotative diction that stands out to you. Note the effect of those words in the My Notes space.

7. Circle and explain your response to this text. I think this text is:

hilarious funny clever ridiculous because ...

Discuss the parts of the text that made you laugh, and describe how the connotative words help create the humor.

8. Collaboratively, use the graphic organizer to explore the satire.

The vice or folly exposed in the text:

Textual Evidence:Irony:

Sarcasm:

Ridicule:

Writing an Analytical ParagraphWhen writing about texts, use the “literary present” (e.g., “The article states ...,” not “The article stated ...”).

Also, remember to maintain coherence in your writing. Using a well-chosen transition word or phrase can help show the relationship (connection) between the ideas in your writing. The following is a list of commonly used transitional words and phrases.

my Notes

The loss of basic subject matter taught in schools associated with the reduction in school funding

The student quote all in present tense

“It’s about time we stopped wasting everyone’s time with who ‘did’ what or ‘went’ where.”

“... students rarely use grammar at all.”

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

280 SpringBoard® English Language Arts Grade 8

9781457304644_TCB_LA_SE_L8_U4.indd 280 15/04/15 1:48 AM

aCTIVITy 4.6continued

WRITING to SOURCES Expository Writing Prompt

Analyze how the text about underfunded schools uses satirical humor to expose human vice or folly. Be sure to:

• Establish and support a controlling idea.

• Use transitions to create cohesion and clarify the relationships among ideas and concepts.

• Use precise diction and maintain a formal style.

• Support your analysis with evidence from the text.

Purpose Example

Add and, again, and then, besides, equally important, finally, further, furthermore, nor, too, next, lastly, what’s more, moreover, in addition, first (second, etc.)

Compare whereas, but, yet, on the other hand, however, nevertheless, on the contrary, by comparison, where, compared to, up against, balanced against, but, although, conversely, meanwhile, after all, in contrast, although this may be true

Prove because, for, since, for the same reason, obviously, evidently, furthermore, moreover, besides, indeed, in fact, in addition, in any case, that is

Show Exception

yet, still, however, nevertheless, in spite of, despite, of course, once in a while, sometimes

Show Time immediately, thereafter, soon, after a few hours, finally, then, later, previously, formerly, first (second, etc.), next, and then

Repeat in brief, as I have said, as I have noted, as has been noted, to reiterate

Emphasize definitely, extremely, obviously, in fact, indeed, in any case, absolutely, positively, naturally, surprisingly, always, forever, perennially, eternally, never, emphatically, unquestionably, without a doubt, certainly, undeniably, without reservation

Show Sequence

first, second, third, next, then, following this, at this time, now, at this point, after, afterward, subsequently, finally, consequently, previously, before this, simultaneously, concurrently, thus, therefore, hence, next, and then, soon

Give an Example

for example, for instance, in this case, in another case, on this occasion, in this situation, take the case of, to demonstrate, to illustrate, as an illustration, to illustrate

Summarize or Conclude

in brief, on the whole, summing up, to conclude, in conclusion, as I have shown, as I have said, hence, therefore, accordingly, thus, as a result, consequently

my Notes

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 4 • The Challenge of Comedy 281

9781457304644_TCB_LA_SE_L8_U4.indd 281 15/04/15 1:48 AM

acTIVITY 4.6 continued

d To prepare for the analytical writing prompt, have students read the information about analytical writing and the use of transitional words and phrases.

aSSeSSHave students respond to the writing prompt by analyzing the satirical text they have just read. Remind students to use the TLQC [transition word + lead-in + quote + citation] structure to explain and embed textual evidence smoothly into a sentence. Also, remind students that commentary is analysis. Students should never use “I think” statements in an analytical paragraph/essay since a formal style is required. Check that, in responding to the writing prompt, students are following the “Be sure to” statements.

Leveled Differentiated InstructionIn this activity, have students create a bank of additional transitions to add to their writing and use an Idea Connector graphic organizer to connect ideas in the two sentences.

Em Guide students to add transition words from their

list to their organizer, such as at the end, next. Work with students to write a combined sentence using the transitions.

Ex Guide students to add a variety of transition words

and phrases from their list to their organizer such as for example, as a result, on the other hand.

Br Have students add a variety of transition words and phrases

from their list to their organizer such as for instance, in addition, consequently.

aDaPTAsk students to revisit their draft to check for the use of the literary present and appropriate transitions to create cohesion.

The texts in future activities are also examples of satire. Challenge students to find the elements of satire—irony, sarcasm, and ridicule—in upcoming texts.

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 4 • The Challenge of Comedy 281

unit

1

AP/College Readiness In this unit, students will focus on refining these important skills and knowledge areas for AP/College Readiness:

•Analyzing literature using the language of literary analysis (Activities 1.3, 1.11)

•Making careful observations of textual detail (Activities 1.11, 1.14)

•Reading widely from fiction and nonfiction (Activity 1.4, 1.5, 1.15)

•Creating reflective writing (Activities 1.7, 1.8, 1.9)

•Using strategies to revise the content and organization of a text (Activities 1.6, 1.7, 1.8, 1.9)

ContextIn this unit, students explore the art of story telling as readers and writers. They encounter contemporary and classic stories about choices and consequences, and they write about their own real and imagined experiences. Students think figuratively and creatively, and they learn to appreciate the writer’s craft through their study and practice. Through attentive study of a published author’s style and craft, students are encouraged to emulate the writing style and techniques in the original narratives and myths they will write.

Instructional SequenceThe instructional sequence begins with an introduction to the concept of choice and key literary terms to guide analysis of model narratives. After studying several narratives to develop an understanding of content, structure, and language, students draft their own narratives and learn how to revise and reflect upon their work. In addition, students use the writing process and work in Writing Groups to generate ideas for revision. These are key skills in preparation for the first Embedded Assessment, Revising a Personal Narrative About Choice.

After completing EA 1, the focus shifts from personal narrative to learning how to create an original illustrated myth. Students analyze a variety of traditional texts to deepen their understanding of the structure of a story, as well as to increase their understanding of character development. Students research mythical gods and goddesses, analyze texts for symbolism, and use visual techniques for effect. Students apply their knowledge of the elements and structure of mythical short stories as they write and illustrate their own myth.

Planning the unit

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 1 •  Planning the Unit  1a

TCB_LA_TE_L7_U1_Planning_The_Unit.indd 1 15/04/15 8:09 AM

SpringBoard® is a strategically developed, comprehensive instructional program. Combining rigorous instruction, performance-based assessments, and immersive professional learning, SpringBoard prepares students for success in Advanced Placement® courses and college-level work.

Beginning with the end in mind.Effective instructional planning tools, back mapped from assessments, help teachers adapt the program to specific student needs.

A Road Map of Every Unit

Embedded Assessments are performance-based tasks built around rigorous standards and are designed to measure student mastery of skills and knowledge.

Variety of Texts includes both literary and informational texts (including nonprint media) that challenge and engage students.

Goals clearly state explicit outcomes for each unit.

Academic Vocabulary and Literary Terms build subject-specific and cross-discipline vocabulary.

Language and Writer’s Craft integrates grammar and language meaningfully in the context of the unit.

FPO

A variety of texts, tools, and activities in a clear learning sequence.

Work Worth Doing

Plan-Teach- Assess-Adapt provides a flexible road map for teachers that includes suggestions, strategies, and opportunities for assessment and differentiation.

Strategies suggest a variety of research-based approaches to meet learning targets.

Learning Targets show standards in student-friendly language.

Preview, Setting a Purpose for Reading, Second Read, and Working from the Text provide an explicit instructional pathway through a text-based activity.

California Common Core State Standards Alignments call out college and career readiness standards explicitly.

Text-Dependent Questioning pose questions that lead to deeper understanding of the language, craft, and structure of the text. Text-dependent questions are organized to support each strand of the California Common Core ELA standards.

Teachers’ Edition Features Teacher to Teacher provides insights from expert SpringBoard teacher-writers.

Text Complexity includes Lexile, qualitative, and Reader and Task measures for an overall evaluation of text.

Differentiating Instruction offers suggestions to support and extend learning.

my Notes

INdepeNdeNT readING LINKYou will be reading the novel Tangerine in this unit. For independent reading, choose informational and other texts about Florida, especially sinkholes, muck fires, the citrus industry, environmental issues, or wildlife.

Learning Targets • Previewthebigideasandvocabularyfortheunit.

• IdentifyandanalyzetheskillsandknowledgeneededtocompleteEmbeddedAssessment 1 successfully.

Making ConnectionsIn prior units, you have read narratives and other fictional stories, as well as articles and informational texts. Learning to write an argument gave you experience in identifying claims and using evidence from texts to support a claim. In this unit, you will read the novel Tangerine. After reading the novel, you will write a literary analysis essay in which you will analyze the novel’s characters, setting, and actions and cite evidence from the novel to support your analysis.

Essential QuestionsBased on your current knowledge, write your answers to these questions.

1. What is the relationship between choices and consequences?

2. What makes a great leader?

Vocabulary DevelopmentGobacktotheContentspageandlookattheAcademicVocabularyandLiteraryTerms for the unit. Use a QHT or other vocabulary strategy to determine which terms you know and which you need to learn more about.

Unpacking Embedded Assessment 1Read the assignment below for Embedded Assessment 1: Writing a Literary Analysis Essay found on page 209.

Write a multi-paragraph literary analysis essay in response to the following prompt (or another provided by your teacher): In Edward Bloor’s novel Tangerine, how did one character’s choices and the consequences of those choices affect the development of the main character?

In your own words, summarize what you will need to know to complete this assessment successfully. With your class, create a graphic organizer to represent the skills and knowledge you will need to complete the tasks identified in the Embedded Assessment.

aCTIvITy

3.1previewing the Unit

LearNING STraTeGIeS: QHT, Marking the Text, Skimming/Scanning

© 2

014

Colle

ge B

oard

. All

righ

ts re

serv

ed.

166 SpringBoard® English Language Arts Grade 7

9781457302190_TCB_SE_L2_U3_P3.indd 166 3/27/15 1:54 PM

peeling a Tangerine aCTIvITy

3.2

Learning Targets • Useimageryinawrittenresponsetoanarrativeprompt.

• Makeinferencesandpredictionsabouttheauthor’spurpose.

1. Examine the tangerine your teacher has given you. Take notes about it using sensory details to create imagery.

Appearance:

Smell:

Feel:

Taste:

2. Similes and metaphors are a common type of figurative language that creates imagery. Review your notes above, and then create a simile and a metaphor about a tangerine. Use the following sentence starters.

Peeling a tangerine is like …

Not “like peeling an orange.” But “like opening a gift box of surprises”

Peeling a tangerine is …

“a roller coaster of sensory delights.”

“gift package of sensory delights.”

Writing Prompt: Write a narrative paragraph describing the experience of examining a tangerine. Be sure to:

• Startwithatopicsentencethatusesfigurativelanguage.

• Useimagery(descriptionandfigurativelanguage)forsupportingdetail.

• Includepersonalcommentary(youropinionsorexplanations).

LearNING STraTeGIeS:Note-taking, Graphic Organizer, Predicting

my Notes

Literary TermsImagery is the use of descriptive or figurative language to create word pictures.

© 2

014

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 3 • Choices and Consequences 167

9781457302190_TCB_SE_L2_U3_P3.indd 167 3/27/15 1:54 PM

acTiViTY 3.2

PLanMaterials: copies of the novel Tangerine, by Edward BloorSuggested pacing: 1 50-minute class period

Teach1 Review the definitions of sensory detail, simile, and metaphor. Explain that imagery—the use of figurative language and other descriptive language that appeals to the senses—allows readers to see, taste, touch, hear, or feel an object.2 Model the use of sensory language, including similes and metaphors, to describe an object other than a tangerine. Then, divide the class into small groups. Provide each group with a tangerine as a visual prompt. Ask students individually to record notes on its appearance, smell, and feel. Have them share their work and add to their notes in the group sharing.3 Have students peel a section of the tangerine and revise their descriptions by adding sensory details about the tangerine’s appearance, smell, feel (and taste if you choose). 4 Have students create similes and metaphors using the sentence starters in step 2. After they share with their groups, select one to collaboratively revise and copy onto a sentence strip to create an advertising banner for Tangerine. Display it in the classroom. 5 Have students choose an appropriate word map graphic organizer; copy it into their Reader/Writer Notebooks; and explore the concept of imagery. Add this word to the Word Wall. 6 The writing prompt asks students to narrate the experience of peeling the tangerine. They should respond individually.

Differentiating instructionTo support students who need help with the writing prompt response, consider co-constructing a response with the whole class. To extend the activity, invite students to compose a poem based on their narrative paragraph about the tangerine.

cOMMOn cOre STaTe STanDarDSFocus Standards:W.7.3b: Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.

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

Additional Standards Addressed:SL.7.1a, L.7.6

© 2

014

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 3 • Choices and Consequences 167

Strategic, standards-aligned activities lead to deep student engagement.

Learning Targets • Analyze the structural components of a personal narrative.

• Write a summary examining the central incident, response, and reflection in a personal narrative.

PreviewA personal narrative tells a story about something that happened in the writer’s life. In this activity, you will read a personal narrative, analyze its structure and key ideas, and then write your own summary of the story.

Introducing the Strategy: Metacognitive MarkersMetacognition refers to the thinking you do about your own learning. Using metacognitive markers involves marking the text with symbols to reflect the thinking you are doing as you read. After reading, you can scan the text and use your metacognitive markers to quickly find evidence when you are talking or writing about a text. Here are the markers:

? Use a question mark for questions you have about the text.

! Use an exclamation point for a reaction to what you are reading.

* Use an asterisk for a comment about the text.

_ Use an underline to identify a key idea or detail in the text.

Setting a Purpose for Reading• As you read “The Scholarship Jacket,” use metacognitive markers to interact

with the text.

• Circle unknown words and phrases. Try to determine the meaning of the words by using context clues, word parts, or a dictionary.

AbouT The AuThorMarta Salinas was born in Coalinga, California, in 1949. She studied creative writing at the University of California at Irvine and has published several short stories. Her best-known story, “The Scholarship Jacket,” has appeared in many anthologies and textbooks.

personal Narrative

The Scholarship Jacket

by Marta Salinas 1 The small Texas school that I went to had a tradition carried out every year during the eighth-grade graduation: a beautiful gold and green jacket (the school colors) was awarded to the class valedictorian, the student who had maintained the

exploring the personal Narrative aCTIvITy

1.4

LearNING sTraTeGIes: Activating Prior Knowledge, Graphic Organizer, Note-taking, Metacognitive Markers

My Notes

Literary TermsA narrative tells a story or describes a sequence of events in an incident.

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

14 SpringBoard® English Language Arts Grade 7

9781457304637_TCB_LA_SE_L7_U1.indd 14 25/03/15 4:58 PM

aCTIvITy 1.4continued

highest grades for eight years. The scholarship jacket had a big gold S on the left front side and your name written in gold letters on the pocket.

2 My oldest sister, Rosie, had won the jacket a few years back, and I fully expected to also. I was fourteen and in the eighth grade. I had been a straight A student since the first grade and this last year had looked forward very much to owning that jacket. My father was a farm laborer who couldn’t earn enough money to feed eight children, so when I was six I was given to my grandparents to raise. We couldn’t participate in sports at school because there were registration fees, uniform costs, and trips out of town; so, even though our family was quite agile and athletic there would never be a school sports jacket for us. This one, the scholarship jacket, was our only chance.

3 In May, close to graduation, spring fever had struck as usual with a vengeance. No one paid any attention in class; instead we stared out the windows and at each other, wanting to speed up the last few weeks of school. I despaired every time I looked in the mirror. Pencil thin, not a curve anywhere. I was called “beanpole” and “string bean,” and I knew that’s what I looked like. A flat chest, no hips, and a brain; that’s what I had. That really wasn’t much for a fourteen-year-old to work with, I thought, as I absent-mindedly wandered from my history class to the gym. Another hour of sweating in basketball and displaying my toothpick legs was coming up. Then I remembered my P.E. shorts were still in a bag under my desk where I’d forgotten them. I had to walk all the way back and get them. Coach Thompson was a real bear if someone wasn’t dressed for P.E. She had said I was a good forward and even tried to talk Grandma into letting me join the team once. Of course Grandma said no.

4 I was almost back at my classroom door when I heard voices raised in anger as if in some sort of argument. I stopped. I didn’t mean to eavesdrop, I just hesitated, not knowing what to do. I needed those shorts and I was going to be late, but I didn’t want to interrupt an argument between my teachers. I recognized the voices: Mr. Schmidt, my history teacher, and Mr. Boone, my math teacher. They seemed to be arguing about me. I couldn’t believe it. I still remember the feeling of shock that rooted me flat against the wall as if I were trying to blend in with the graffiti written there.

5 “I refuse to do it! I don’t care who her father is, her grades don’t even begin to compare to Martha’s. I won’t lie or falsify records. Martha has a straight A-plus average and you know it.” That was Mr. Schmidt and he sounded very angry. Mr. Boone’s voice sounded calm and quiet.

6 “Look. Joann’s father is not only on the Board, he owns the only store in town: we could say it was a close tie and—”

7 The pounding in my ears drowned out the rest of the words, only a word here and there filtered through. “. . . Martha is Mexican . . . resign. . . won’t do it . . .” Mr. Schmidt came rushing out and luckily for me went down the opposite way toward the auditorium, so he didn’t see me. Shaking, I waited a few minutes and then went in and grabbed my bag and fled from the room. Mr. Boone looked up when I came in but didn’t say anything. To this day I don’t remember if I got in trouble in P.E. for being late or how I made it through the rest of the afternoon. I went home very sad and cried into my pillow that night so Grandmother wouldn’t hear me. It seemed a cruel coincidence that I had overheard that conversation.

8 The next day when the principal called me into his office I knew what it would be about. He looked uncomfortable and unhappy. I decided I wasn’t going to make it any easier for him, so I looked him straight in the eyes. He looked away and fidgeted with the papers on his desk.

My Notes

agile: nimble, quick

scholarship: related to money given to support a student’s education

coincidence: an unexpected event that seems to happen by chance

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 1 • The Choices We Make 15

9781457304637_TCB_LA_SE_L7_U1.indd 15 25/03/15 4:58 PM

acTIVITY 1.4 continued

4As students are reading, monitor their progress. Be sure they are engaged with the text and annotating with metacognitive markers. Evaluate whether the selected reading mode is effective.

5Based on the observations you made during the first reading, you may want to adjust your reading mode. For example, you may decide for the second reading to read aloud certain complex passages, or you may group students differently.

ScaFFOLDING The TexT-DePeNDeNT QUeSTIONS1. Craft and Structure (RL.7.4) What does Martha mean by “rooted” against the wall in paragraph 4? What does it mean when a plant is rooted in the earth? When Martha hears the teachers arguing, does she stand still or run away?

2. Key Ideas and Details (RL.7.1) What can be inferred from the conversation Martha overheard between her two teachers? What do Mr. Schimdt and Mr. Boone say? Why might be “a close tie” between Martha and Joann? How does Mr. Boone

feel about the situation? How does Mr. Schmidt feel about the situation? How do you know?

3. Craft and Structure (RL.7.6) Reread paragraphs 16–18. How does Martha’s point of view differ from her grandfather’s? In what ways do they agree? What does the principal say Martha must do to get the scholarship jacket? Why is Martha surprised at what the principal asks of her and her family? What does Martha ask her grandfather for?

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 1 • The Choices We Make 15

9781457304705_TCB_LA_TE_L7_U1.indd 15 25/03/15 6:51 PM

Assessment Drives Instruction

Each Instructional Unit is built around a performance-based Embedded Assessment.

Scoring Guides align to standards and set clear expectations for performance.

Assignments align to the rigorous tasks typical of common assessments and national exams.

Formative Assessments, including “Check Your Understanding” and Writing Prompts, measure students’ progress against Learning Targets.

aCTIvITy 1.3continued

Working from the Text7. An author’s diction — choice of words — often has an effect on the reader.

Words may carry a denotation and connotation, as well as figurative meanings. Use the graphic organizer to compare and contrast the diction in the two poems.

“The Road Not Taken” “Choices”

Examples of denotation and connotation:

Examples of denotation and connotation:

Words and phrases with figurative meanings:

Words and phrases with figurative meanings:

8. Theme: What is the message about life implied in each poem?

Check Your UnderstandingWRITING to SOURCES Expository Writing Prompt: Think about the poems and your analysis of their speakers, word choices, and themes. Then write a paragraph in which you explain the two narrators’ reflections about choices. Be sure to:

• Start your paragraph with a topic sentence.

• Include quotations of words and lines from the poems that support your ideas about choices.

Choices and ConsequencesMany choices have consequences. Go back to your “My Choices” web in your Reader/Writer Notebook and add the consequences for the choices you labeled. Some choices may have several consequences. Add just the most important ones that resulted from your choice.

aCadeMIC voCabULaryEffect and effective are words you will encounter often in academic courses. Effect is the way one thing influences or acts upon another. The adjective effective describes something that is successful in producing a desired or intended result.

Literary TermsA word’s denotation is its exact, literal meaning. Connotation is the suggested or implied meaning or emotion associated with a word, beyond its literal definition.

Figurative language is language used in an imaginative way to express ideas that are not literally true. It is used for effect, such as with personification, simile, metaphor, and hyperbole.

Word CoNNeCTIoNs

CognatesA cognate is a word that has the same root meaning as a word in the same or another language. The English word consequences comes from the Latin verb consequi, which means “following closely.” It has the same meaning as a similar word in Spanish. Both consecuencia and consequence mean “a result or an effect of an action.”

© 2

017

Colle

ge B

oard

. All

righ

ts re

serv

ed.

Unit 1 • The Choices We Make 13

150077199 00075-014

For more information about SpringBoard English Language Arts, go to collegeboard.org/springboardCA or call us at 877-999-7723.

SpringBoard® Digital

Assessmentsinclude both end-of-unit and short-cycle formats, multiple-choice, short answer, and technology-enhanced items that can be printed or delivered online.

Planning and Organization Tools for teachers include Lesson Planner, Teacher Notebook, Class Manager, and Gradebook.

Reports cover student performance, standards mastery, item analysis, and trend data.

Editable Student and Teacher Editions provide interactive text marking tools (underline, circle, highlight, sticky notes).

Correlations Viewer makes it easy to search and find where standards are addressed.

Interactive Tools are included under each question so students can type, draw, or upload responses.

Interactivity enriches teaching and learning.

Seamless integration for instructional continuity.

Teacher Resources are just a click away and include blackline masters, graphic organizers, parent letters, a Grammar Handbook with grammar activities, ELL support, Writing Workshops, Close Reading Workshops, Spanish/English Glossary, and more.

The SpringBoard Online Community connects educators with a peer-to-peer Online Learning Community and resources, including a video for sharing best practices and addressing daily instructional needs.

Communications Tools enable messaging and portfolio development and provide a channel for teacher-to-student feedback.

© 2015 The College Board. College Board, Advanced Placement Program, Advanced Placement, AP, SpringBoard, and the acorn logo are registered trademarks of the College Board. Visit the College Board on the Web: www.collegeboard.org.