Macomb Collaborative

MC8 #1 Appendix © Macomb Intermediate School District 2006

Macomb Collaborative Grade 8 - Unit #1

Appendix

1. Prompt [Day 1] 2. Peer Editing Questions [Day 2] 3. Review of Writing: Publishing Final Copy [Day 2] 4. Rubric [Day 2] 5a-c. All Summer In a Day [Day 3] 6. NASA Information on Venus [Day 3] 7a-b. Genre: Science Fiction and Student Bookmark [Day 3] 8. Procedure for Think Aloud [Days 3 and 6] 9a-b. Genre: Realistic Fiction and Student Bookmark [Day 4] 10. Story Elements (with definitions) [Day 5] 11. Character Interactions [Day 6] 12. Vocabulary in Context Strategy [Days 6, 7, 8, 9, 10, 11, 12, 13, 14, and 15] 13a. Focus Question #1 [Day 6] 13b. Focus Question Rubric [Days 6, 7, 8, 10, 11, 12, and 16] 14. Focus Question #2 [Day 7] 15. Focus Question #3 [Day 8] 16a-c. Chapter 5 Readers Theater Script [Day 9] 17. Focus Question #4 [Day 10] 18a-b. Chapter 7 Readers Theater Script [Day 11] 19. Focus Question #5 [Day 11] 20. Focus Question #6 [Day 12] 21. Chart: Characters-Reason to Fight [Day 13] 22. Conflicts by Chapter [Days 14 and 15] 23. Nothing Gold Can Stay, by Robert Frost [Days 9 and 16] 24. Focus Question #7 [Day 16] 25. Focus Question #8 [Days 17 and 18] 26. Rubric [Days 17 and 18]


Directions: Getting along with others is important in life, but sometimes we don’t like someone or they do not like us because we are different in some way. This is sometimes called prejudice. Prejudice means forming an opinion without looking at the facts carefully, like, “He has a tattoo, so he must be a crook.” Or “She got arrested, so she must be guilty.” Or “She doesn’t wear cool clothes, so she must be a loser.” Prejudice is often directed at different races (black and white), different social classes (rich and poor) and/or different religions (Catholic, Protestant, Jewish, Muslim, etc.).

Write about the theme: prejudice Do one of the following:

Write about a time, when you or someone you know faced prejudice. OR

Discuss what a person can learn from dealing with prejudice.

OR Persuade readers that prejudice is wrong (Give specific examples).

OR Write about the theme in your own way.

You may use examples from real life, from what you read or watch, or from your imagination. Your writing will be read by interested adults. Use the paper provided for notes, freewriting, outlining, clustering, or writing your rough draft. If you need to make a correction, cross out the error and write the correction above or next to it. You should give careful thought to revision (rethinking ideas) and proofreading (correcting spelling, capitalization, and punctuation). Use the rubric and checklist provided to help improve your writing. (Optional: You may use a dictionary, thesaurus, spelling book and/or grammar book.)

Appendix #1


Peer Editing Questions

Is the central idea or point of the writing clear?

Is the central idea or point supported by important and relevant details, examples, and/or anecdotes?

Does the writing begin with an interesting and engaging lead, continue with a middle that supports and develops the point, and conclude with an ending that summarizes the point?

Is the writing interesting with engaging words and different sentence lengths and types?

What do I, as the listener, think is good about the writing?

Do I have questions and/or suggestions for the writer?

Appendix #2


Review of Writing: Publishing Final Copy

DIRECTIONS: Now you will be doing three things: revising your paper (which means to rethink your ides); polishing your paper (which means to edit and proofread); and recopying your paper as neatly as possible. Use the following checklist as you revise and edit the writing that you have done. When you are finished revising, you must make a final copy of your paper. Then, proofread your final copy to make sure that all of your revisions have been made. CHECKLIST FOR REVISION: 1. Do I have a clear central idea that connects to the topic?

2. Do I stay focused on my central idea?

3. Do I support my central ideas with important and relevant details/examples?

4. Do I need to take out details/examples that DO NOT support my central idea?

5. Is my writing organized and complete, with a clear beginning, middle, and end?

6. Do I use a variety of interesting words, phrases, and/or sentences?

CHECKLIST FOR EDITING 7. Have I checked and corrected my spelling to help readers understand my writing?

8. Have I checked and corrected my punctuation and capitalization to help readers

understand my writing?

CHECKLIST FOR PROOFREADING: 9. Is everything in my final copy just the way I want it? Reread your writing. You should cross out or erase any errors you make. You will have as much time as you need. Appendix #3


Rubric Writing from Knowledge and Experience

Characteristics 6 5 4 3 2 1

Content and Ideas The writing is exceptionally clear and focused. Ideas and content are thoroughly developed with relevant details and examples where appropriate.

The writing is clear and focused. Ideas and content are well developed with relevant details and examples where appropriate.

The writing is generally clear and focused. Ideas and content are developed with relevant details and examples where appropriate, although there may be some unevenness.

The writing is somewhat clear and focused. Ideas and content are developed with limited or partially successful use of examples and details.

The writing is only occasionally clear and focused. Ideas and content are underdeveloped.

The writing is generally unclear and unfocused. Ideas and content are not developed or connected.

Organization The writer’s control over organization and the connections between ideas move the reader smoothly and naturally through the text.

The writer’s control over organization and the connections between ideas effectively move the reader through the text.

The response is generally coherent, and its organization is functional.

There may be evidence of an organizational structure, but it may be artificial or ineffective.

There may be little evidence of organizational structure.

There may be no noticeable organizational structure.

Style and Voice The writer shows a mature command of language including precise word choice that results in a compelling piece of writing.

The writer shows a command of language including precise word choice.

The writer’s command of language, including word choice, supports meaning.

Vocabulary may be basic.

Vocabulary may be limited.

Conventions Tight control over language use and mastery of writing conventions contribute to the effect of the response.

The language is well controlled, and occasional lapses in writing conventions are hardly noticeable.

Lapses in writing conventions are not distracting.

Incomplete mastery of over writing conventions and language use may interfere with meaning some of the time.

Limited control over writing conventions may make the writing difficult to understand.

Lack of control over writing conventions may make the writing difficult to understand.

Not ratable if: a) off topic b) illegible c) written in language other than English d) blank/refused to respond Appendix #4


All Summer In A Day By Ray Bradbury

“Ready?” “Ready.” “Now?” “Soon.” “Do the scientists really know? Will it happen today, will it?” “Look, look; see for yourself!” The children pressed to each other like so many roses, so many weeds, intermixed, peering out for a look at the hidden sun. It rained. “It’s stopping, it’s stopping!” “Yes, yes!” All day yesterday they had read in class about the sun. About how like a lemon it was, and how hot. And they had written small stories or essays or poems about it:

I think the sun is a flower, That blooms for just one hour.

That was Margot’s poem, read in a quiet voice in the still classroom while the rain was falling outside. “Aw, you didn’t write that!” protested one of the boys. “I did,” said Margot. “I did.” “William!” said the teacher. But that was yesterday. Now the rain was slackening, and the children were crushed in the great thick windows. “Where’s teacher?” “She’ll be back.” “She’d better hurry, we’ll miss it!” They turned on themselves; like a feverish wheel, all tumbling spokes. Margot stood alone. She was a very frail girl who looked as if she had been lost in the rain for years and the rain had washed out the blue from her eyes and the red from her mouth and the yellow from her hair. She was an old photograph dusted from an album, whitened away, and if she spoke at all her voice would be a ghost. Now she stood, separate, staring at the rain and the loud wet world beyond the huge glass. “What’re you looking at?” said William. Margot said nothing. Appendix #5a


“Speak when you’re spoken to.” He gave her a shove. But she did not move; rather she let herself be moved only by him and nothing else. They edged away from her, they would not look at her. She felt them go away. The biggest crime of all was that she had come here only five years ago from Earth, and she remembered the sun. And they, they had been on Venus all their lives, and they had been only two years old when last the sun came out and had long since forgotten the color and heat of it and the way it really was. But Margot remembered. “It’s like a penny,” she said once, eyes closed. “No it’s not!” the children cried. “It’s like a fire,” she said, “in the stove.” “You’re lying, you don’t remember!” cried the children. There was talk that her father and mother were taking her back to Earth next year; it seemed vital to her that they do so, though it would mean the loss of thousands of dollars to her family. And so, the children hated her for all these reasons of big and little consequence. They hated her pale snow face, her waiting silence, her thinness, and her possible future. “Get away!” The boy gave her another push. “What’re you waiting for?” Then, for the first time, she turned and looked at him. And what she was waiting for was in her eyes. “Well, don’t wait around here!” cried the boy savagely. “You won’t see nothing!” “Oh, but,” Margot whispered, her eyes helpless. “But this is the day, the scientists predict, they say, they know, the sun . . .” “All a joke!” said the boy, and seized her roughly. “Hey, everyone, let’s put her in a closet before the teacher comes!” “No,” said Margot, falling back. They surged about her, caught her up and bore her, protesting, and then pleading, and then crying, back into a tunnel, a room, a closet, where they slammed and locked the door. They stood looking at the door and saw it tremble from her beating and throwing herself against it. They heard her muffled cries. Then, smiling, they turned and went out and back down the tunnel, just as the teacher arrived. “Ready, children!” She glanced at her watch. “Yes!” said everyone. “Are we all here?” “Yes!” The rain slackened still more. They crowded to the huge door. The rain stopped. The sun came out. Appendix #5b


The children lay out, laughing, on the jungle mattress, and heard it sigh and squeak under them, resilient and alive. They ran among the trees, they slipped and fell, they pushed each other, they played hide-and-seek and tag, but most of all they squinted at the sun until tears ran down their faces, they put their hands up to that yellowness and that amazing blueness and they breathed of the fresh, fresh air and listened and listened to the silence which suspended them in a blessed sea of no sound and no motion. They looked at everything and savored everything. Then, wildly, like animals escaped from their caves, they ran and ran in shouting circles. They ran for an hour and did not stop running. And then - - - In the midst of their running one of the girls wailed. Everyone stopped. The girl, standing in the open, held out her hand. “Oh, look, look,” she said, trembling. They came slowly to look at her opened palm. In the center of it, cupped and huge, was a single raindrop. She began to cry, looking at it. They glanced quietly at the sky. “Oh. Oh.” A few cold drops fell on their noses and their cheeks and their mouths. The sun faded behind a stir of mist. A wind blew cold around them. They turned and started to walk back toward the underground house, their hands at their sides, their smiles vanishing away. “Will it be seven more years?” “Yes. Seven.” Then one of them gave a little cry. “Margot!” “What?” “She’s still in the closet where we locked her.” They walked over to the closet door slowly and stood by it. Behind the closet door was only silence. They unlocked the door, even more slowly, and let Margot out. Appendix #5c


NASA Information on Venus

Venus has no ocean. Venus is covered by thick, rapidly spinning clouds that trap surface heat, creating a scorched greenhouse-like world with temperatures hot enough to melt lead, and pressure so intense that standing on Venus would feel like the pressure felt 900 meters deep in Earth’s oceans. The atmosphere consists mainly of carbon dioxide (the same gas that produces fizzy sodas), droplets of sulfuric acid, and virtually no water vapor – not a great place for people or plants. In addition, the thick atmosphere allows the Sun’s heat in but does not allow it to escape, resulting in surface temperatures over 450° C, hotter than the surface of the planet Mercury, which is closest to the Sun. The high density of the atmosphere results in a surface pressure 90 times that of Earth, which is why probes that have landed on Venus have only survived several hours before being crushed by the incredible pressure. In the upper layers, the clouds move faster than hurricane-force winds on Earth. http://sse.jpl.nasa.gov/planets/profile.cfm?Object=Venus&Display=Overview

Appendix #6


Genre: Science Fiction

Science fiction like other narrative forms has the same elements: characters in settings with problems, attempts to solve problems or events, resolution and lessons or themes. Science fiction is a form of realistic fiction and has many of the same features. Science fiction comes from the author’s imagination, but it must seem to be true based on what scientists know or predict might be true in the future.

Science Fiction Definition: • Imaginary writing based on current or projected scientific and technological developments (from

Harris, et al. The Literacy Dictionary, IRA, 1995) • A form of fiction that makes use of scientific knowledge or conjecture (Margaret Mooney. Text

Forms and Features, Richard C. Owen, 2001.)

Purpose: • To encourage the reader to view the world from a different perspective • To develop imagination Form and Features: • Opening introduces characters in a setting, conflict, problem or goal. • The middle of science fiction develops the plot including the story’s events, the characters

reactions to these events, and the roadblocks the characters encounter. The plot builds to a climax (the point at which the conflict reaches its greatest height and the crisis or turning point occurs).

• Science fiction stories end with a resolution to the conflict or problem or a conclusion. • Plot: the sequence of events is usually set in motion by a problem that begins the action or causes

the conflict (from Cornett, C. Integrating Literature and the Arts Through the Curriculum, Simon and Schuster, 1999.)

• Conflict, the tension that exists between the forces in the character’s life, is important in science fiction and can be in four forms: - Person – against – self - Person – against – person - Person – against – nature - Person – against – society

• Science fiction is realistic fiction; so, the characters must seem like real people, the actions of the characters must seem real and the setting must also be realistic.

• Science fiction also has the following features:

- Settings, plots, themes, and characters are based on scientific speculation (guessing or predictions).

- Writer constructs a futuristic world. - Reader is put into a “what if” mode of thinking. - Common elements include humans on another planet, a creature from another planet visiting

Earth, life on Earth after a disaster, a human in a group of aliens. - Often causes reader to think of enduring human qualities and responsibilities.

Appendix #7a


Science Fiction Bookmark Science Fiction Bookmark Science Fiction Bookmark Stories from author’s imagination, but based on what

scientists predict might be true in the future Stories from author’s imagination, but based on what

scientists predict might be true in the future Stories from author’s imagination, but based on what

scientists predict might be true in the future Name:

Name:

Name:

Title: Title: Title: List the page number and a brief reminder of the genre characteristics you find as you read.

List the page number and a brief reminder of the genre characteristics you find as you read.


Based on scientific speculation (guessing/predictions) Based on scientific speculation (guessing/predictions) Based on scientific speculation (guessing/predictions)

p. p. p.

p. p. p.

p. p. p.

p. p. p.

“What if” mode of thinking – give examples “What if” mode of thinking – give examples “What if” mode of thinking – give examples

p. p. p.

p. p. p.

p. p. p.

p. p. p. Common features: humans on another planet, aliens visiting Earth, or life on Earth after a disaster Common features: humans on another planet, aliens

visiting Earth, or life on Earth after a disaster Common features: humans on another planet, aliens visiting Earth, or life on Earth after a disaster

p. p. p.

p. p. p.

p. p. p.

p. p. p.

Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved.

Appendix #7b


Procedure for Think Aloud Making Thinking Public

The Literacy Dictionary (Harris and Hodges, 1995, IRA) defines a think aloud as “1. oral verbalization, 2. in literacy instruction - a metacognitive technique or strategy in which the teacher verbalizes aloud while reading a selection orally, thus modeling the process of comprehension (Davey, 1983).” Put another way, a think aloud is making thinking public. A teacher models what an expert would be thinking as s/he were reading, visualizing, listening; or preparing to write, speak or visually represent. The goal of thinking aloud is to graphically show students what they might do to understand what they are reading, viewing or listening to, as well as, plan for writing or speaking. Following is an example of a think aloud for figuring out the meaning of an unfamiliar word in context: “It’s important while we read to be able to figure out the meaning of an unfamiliar word. When I come to a word I don’t know the meaning of, I read the words and sentences around that word to try to figure out what the word might mean. The other day I was reading this great mystery, The Westing Game by Ellen Raskin. I read the following paragraph with lots of challenging words: ‘Sam Westing was not murdered, but one of his heirs was guilty – guilty of some offense against a relentless man. And that heir was in danger. From his grave Westing would stalk his enemy and through his heirs he would wreak his revenge.’ It was a paragraph about Sam Westing who had just died and left a challenge behind to find his killer(s). I knew most of the words. I knew ‘relentless’ meant that Sam Westing never gave up until he got what he wanted. I knew that ‘stalk his enemy’ meant that even after death, Sam Westing would somehow go after and find his enemy. But I wasn’t sure what ‘wreak his revenge’ meant. I knew that revenge meant Sam Westing would get even with his enemy, so I figured that “wreak” must be a stronger way to say, ‘get his revenge.’ I’ve heard the word ‘wreak’ before, and now I’ll keep it in my mind and may be able to use it in writing sometime. I will know it when I see it in print”.

Appendix #8


Genre: Realistic Fiction Realistic fiction is not a true story but it has to be believable or to seem possible.

Realistic Fiction Definition: • A story that attempts to portray characters and events as they actually are (from

Harris, et al. The Literacy Dictionary, IRA, 1995) • Realistic fiction includes “…stories that could happen in the real world, in a time and

setting that is possible, with characters that are true to life.” (Kathleen Buss and Lee Karnowski. Reading and Writing Literary Genres, IRA, 2000)

Purpose: • To entertain • To involve the reader in the lives of people who seem to be real and are in real life

situations

Form and Features: • The beginning introduces characters in a setting, conflict, problem or goal. • The middle of realistic fiction develops the plot including the story’s events, the

characters reactions to these events, and the roadblocks the characters encounter. • Realistic fiction ends with a resolution to the conflict or problem or a conclusion. • Plot: The main character’s problem makes up the plot and is the source of the

conflict. • Conflict, the tension that exists between the forces in the character’s life, is important

in realistic fiction and can be in four forms: - Person – against – self - Person – against – person - Person – against – nature - Person – against – society

• Characters in realistic fiction are fictional, but they behave in realistic ways. • The story takes place in the present time in a recognizable place. • Places, events and characters are often vividly described. • The character’s words or dialogue show their personalities. Appendix #9a


Realistic Fiction Bookmark Realistic Fiction Bookmark Realistic Fiction Bookmark Not a true story but must seem like it could happen Not a true story but must seem like it could happen Not a true story but must seem like it could happen

Name:

Name:

Name:

Title: Title: Title: List the page number and a brief reminder of the genre characteristics you find as you read.



Includes events that could actually happen Includes events that could actually happen Includes events that could actually happen

p. p. p.

p. p. p.

p. p. p.

p. p. p.

Set in the present time Set in the present time Set in the present time

p. p. p.

p. p. p.

p. p. p.

p. p. p.

Characters, places and events are vividly described. Characters, places and events are vividly described. Characters, places and events are vividly described.

p. p. p.

p. p. p.

p. p. p.

p. p. p.

Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved.

Appendix #9b


Story Elements (with definitions)

Characters - Who is in the story?

Setting - When and where does the story take place?

Problem - What problem does the main character have or what does the main character want?

Conflict - What is the struggle between two opposing forces in the plot?

Events - What does the main character do to solve his/her problem or get what he/she wants?

Resolution - How is the problem solved? OR How does the main character learn to deal with the problem?

Theme(s)/Lesson(s) – So What? – What lesson or message is the author trying to get across?

Appendix #10


Character Interactions

p. 21: “That’s the greaser that jockeys for the Slash J sometimes,” she (Marcia) said, as if we couldn’t hear her. p. 21: I had heard the same tone a million times: “Greaser…greaser…greaser.” Oh yeah, I had heard that tone before too many times. (Ponyboy) p. 21: I’d seen her before; she was a cheerleader at our school. I’d always thought she was stuck-up. (Ponyboy) p. 21: I wouldn’t have felt so embarrassed if they had been greasy girls…But those two girls weren’t our kind. (Ponyboy) p. 22: I was half-scared of her. I’m half-scared of all nice girls, especially Socs. (Ponyboy) p. 23: (Cherry to Ponyboy) “What’s a nice, smart kid like you running around with trash like that for?” (assumes the worst of a group) p. 23: I felt myself stiffen. “I’m a grease, same as Dally.” (Ponyboy) p. 23: “Dropout” made me think of some poor dumb-looking hoodlum wandering the streets breaking out street lights…” (Ponyboy) p. 24: (After Cherry throws her Coke in Dally’s face) “Fiery, huh? Well, that’s the way I like ‘em.” He started to put his arm around her… (Dally) p. 25: We had picked up two girls, and classy ones at that. Not any greasy broads for us, but real Socs. (Ponyboy) p. 26: It’s a pack. A snarling, distrustful, bickering pack like the Socs in their social clubs or the street gangs in New York or the wolves in the timber. (Ponyboy) p. 28: Incidentally, we don’t mind being called a greaser by another greaser. It’s kind of playful then. (Ponyboy, Johnny, and Two-bit) p. 30: Quite a few kids turned to look at us – you didn’t see a kid greaser and a Soc cheerleader together often. (Ponyboy) p. 34: “All Socs aren’t like that,” she said. “You have to believe me, Ponyboy. Not all of us are like that.” (Cherry to Ponyboy regarding the violent attack on Johnny)

Appendix #11


Vocabulary in Context Strategy Learning vocabulary in context is much more powerful and effective. Students understand the words better, will remember them, and will more often recognize the word and its meaning when next encountered. This is a simple vocabulary strategy that only involves dictionary work as a last resort. Procedures: • Assign or let students choose partners. • Display the vocabulary words with page numbers. • Tell students in partners to:

1. find each listed word, 2. read the sentences (context) around the word, then try to figure out what the word means, 3. check their definitions with the dictionary (if necessary), 4. jot down their “working definition” in their own words, and 5. also write down why this word is important to the selection. Encourage students to begin to keep a personal dictionary of new words that they might use in conversation and in writing. Appendix #12


Focus Question #1 How does Ponyboy feel about how the Socs live? Do you think he believes Cherry when she claims Socs have it rough? Answer Plan:

1. Begin by explaining how Ponyboy views the Socs. 2. Explain why you think Ponyboy feels this way. 3. Conclude by describing how you think knowing Cherry will change (or

not change) Ponyboy’s ideas about the Socs. Possible Answer: (1) Ponyboy sees the Socs as different from himself and his friends. He feels that they are the “West-side rich kids,” the “jet set” (p. 2). They “throw beer blasts for kicks” (p. 3) and “get editorials in the paper for being an asset to society…” (p. 3). He thought Cherry’s “idea of a good time was high class, and…expensive” (p. 27). Ponyboy thinks Socs have “good grades, good cars, good girls, madras and Mustangs and Corvairs and that if [he] had worries like that [he’d] consider [himself] lucky” (p. 36). (2) Ponyboy probably does not believe Cherry at this point. He has no personal relationship with any of the Socs until he meets Cherry. When Cherry realizes his perception of Socs has been strongly influenced by the attack on Johnny, she tries to tell Ponyboy that “all Socs aren’t like that.” (3) Knowing Cherry will probably give him a very a very different view of Socs. Now he begins to see they are not all bad and rough.

Appendix #13a


Macomb ELA Genre Units: Focus Question Rubric

3 (complete)

2 (partial)

1 (minimal)

Traits: Content

Answers question Uses relevant details from

text to support answer Stays on topic

Answer is relevant with many details and examples.

Answer is relevant but has few details to support or explain the answer.

Answers question with misinterpretation. Little or no relevance to text or question. Ideas and content are not developed or connected.

Organization Restatement (Beginning) Details in support (Middle) Conclusion (End)

Student restates the question in his/her own words. Details support point. Response is written in a logical sequence that makes connections.

Student restates the question in the answer. Events are retold in a somewhat disconnected structure.

Students answer either “yes,” “no,” or “I agree” without reference to the question. Writing lacks sequence.

Style/Voice Uses quotes to support, Concludes with prediction

characters feelings, opinions, etc…

Word choice is precise. Uses quotes effectively. Conclusion engages the reader.

Vocabulary is basic. May use quotations, but reference is unclear. Conclusion is partially successful.

Vocabulary is limited. Quotations are not used. The conclusion is ineffective or does not exist.

Conventions/Presentation Writing is neat. Uses proper conventions

Presentation makes the writing inviting. Writing shows control over conventions.

Writing is readable. Errors in conventions do not distract from meaning.

Writing may not be legible. Errors in conventions distract from meaning.

Appendix #13b


Focus Question #2 Ponyboy and Cherry both think things are “rough all over.” Give examples and compare the ways Socs and greasers feel they have it rough. (Look at p. 38 and p. 43.) Answer Plan:

1. Divide your paper into two columns, labeled “greasers” and “Socs.” 2. Under each column heading, list the things that make it “rough” for each group. 3. Compare how each group has it “rough” and describe the differences and

similarities. 4. Decide which group you think has it the most “rough” and explain why.

Possible Answer:

Each group claims to have it rough because of how they view life. Socs describe themselves as too cool to feel emotions, which leads them to seek wild, sometimes violent thrills. Greasers say they are too emotional. They are angry with their situations and sometimes act out violently. Both Socs and Greasers share in common poor family lives. All the greasers either have no parents (Ponyboy and his brothers) or they have lousy parents (Steve’s, Two-bit’s dad, both Johnny’s parents, and probably Dally’s parents, too). The Socs’ parents care in the wrong way – they give their children material things in place of an emotional bond. Although both groups seem to be victims of circumstances, the Greasers probably have a better reason to be angry or feel helpless. Most of them are trapped in their family situations with no easy way out to make it better. Appendix #14

Greasers Socs • Get the “rough breaks” • Johnny’s parents abuse him. • Two-bit’s dad ran out on them. • Steve hates his father and acts out

violently. • Sodapop dropped out of school to

keep Ponyboy there. • Darry takes on too much family

responsibility to keep the brothers together after their parents are killed.

• Too cool; don’t feel • Talk without meaning • Always going, but without a

purpose • Too many things/possessions;

nothing left to want or strive for (though their longing causes frustration)

• No connection to the positive feelings of life


Focus Question #3 Summarize and describe the important events of each scene and how you believe they affect Ponyboy. Answer Plan:

1. Identify the scenes in this chapter and point out that important events happen at each scene. Choose the most important events from each scene and describe Ponyboy’s feelings at each point.

2. Look up the definition for “premonition.” After all the emotions Ponyboy experienced that night, describe what type of premonition he had at the church. Why?

Possible Answer: (1) Important events happen at each of the scenes in this chapter: the Park, Buck’s place, the train and the old church. The most important event at the park was the fight. Ponyboy is almost killed by Bob, but is saved by Johnny. When Ponyboy realizes what has happened, he is first sick and then panics. At Buck’s place, Ponyboy seems pretty calm. He feels that Dally is their only hope and, in the process, observes that Dally and Darry treat him similarly. It is not until they are safely aboard the train that Ponyboy realizes fully what has happened that night. He is very tired and describes himself falling asleep in a “hoodlum’s jacket with a gun by his hand.” It’s not where he would have expected himself to end up earlier this evening, looking at the stars with Johnny. When Ponyboy and Johnny arrive at the church, they are extremely tired. On two occasions Ponyboy describes the church as “creepy” and as giving him the “creeps.” (2) Here he has a premonition, a bad feeling about the church and his future.

Appendix #15


Readers Theater Script: The Outsiders, Chapter 5 Narrator: A toe nudges Ponyboy in the ribs.

Dally: Glory, he looks different with his hair like that.

Narrator: Ponyboy rolls over and sits up, rubbing the sleep out of his eyes and yawning.

Suddenly he blinked.

Ponyboy: Hey, Dally!

Dally: Hey, Ponyboy! Or should I say Sleeping Beauty?

Ponyboy: (thinking)

I never thought I’d live to see the day when I would be so glad to see Dally Winston, but right then he meant one thing: contact with the outside world. And it suddenly became real and vital.

Ponyboy: How’s Sodapop? Are the fuzz after us? Is Darry all right? Do the boys know where we are? What …?

Dally: Hold on, kid. I can’t answer everything at once. You two want to go get something to eat first? I skipped breakfast and I’m about starved.

Johnny You’re starved?

Narrator: Johnny was so indignant he nearly squeaked. Ponyboy remembered the baloney.

Ponyboy: (eagerly)

Is it safe to go out?

Dally: Yep. Gotta cancer stick, Johnnycake? The fuzz won’t be lookin’ for you around here. They think you’ve lit out for Texas. I’ve got Buck’s T-bird parked down the road a little way. Goshamighty, boys, ain’t you been eatin’ anything?

Johnny: Yeah. Whatever gave you the idea we ain’t?

Dally:

You’re both pale and you’ve lost weight. After this, get out in the sun more. You look like you’ve been through the mill.

Narrator: Ponyboy starts to say “Look who’s talking” but decided it would be safer not to. Dally needed a shave – a stubble of colorless beard covered his jaw – and he looked like he was the one who’d been sleeping in his clothes for a week instead of us: Ponyboy knew Dally hadn’t seen a barber in months. But it was safer not to get mouthy with Dally Winston.

Appendix #16a


Dally:

Hey, Ponyboy. I gotta letter for you.

Ponyboy: A letter? From who?

Dally: The President, of course, stupid. It’s from Soda.

Ponyboy: (bewildered)

Sodapop? But how did he know …?

Dally: He came over to Buck’s a couple of days ago for something and found that sweat shirt. I told him I didn’t know where you were, but he didn’t believe me. He gave me this letter and half his pay check to give you. Kid, you ought to see Darry. He’s takin’ this mighty hard …

Narrator: Ponyboy wasn’t listening. He leaned back against the side of the church and read: Ponyboy, Well I guess you got into some trouble, huh? Darry and me nearly went nuts when you ran out like that. Darry is awful sorry he hit you. You know he didn’t mean it. And then you and Johnny turned up missing and what with that dead kid in the park and Dally getting hauled into the station, well it scared us something awful. The police came by to question us and we told them as much as we could. I can’t believe little old Johnny could kill somebody. I know Dally knows where you are, but you know him. He keeps his trap shut and won’t tell nothing. Darry hasn’t got the slightest notion where you’re at and it is nearly killing him. I wish you’d come back and turn your selfves in but I guess you can’t since Johnny might get hurt. You sure are famous. You got a paragraph in the newspaper even. Take care and say hi to Johnny for us. Sodapop Curtis

Ponyboy: (thinking)

He could improve his spelling.

Ponyboy: How come you got hauled in?

Dally: Shoot, kid, them boys at the station know me by now. I get hauled in for everything that happens in our turf. While I was there I kinda let it slip that y’all were headin’ for Texas. So that’s where they’re lookin’.

Narrator: Dally takes a drag on his cigarette and cussed it good-naturedly for not being a Kool. Johnny listened in admiration.

Johnny: You sure can cuss good, Dally.

Dally: (proud) Sure can. But don’t you kids get to pickin’ up my bad habits.

Appendix #16b


Dally: Kid, I swear it don’t look like you with your hair all cut off. It used to look tuff. You

and Soda had the coolest-lookin’ hair in town.

Ponyboy: (sourly)

I know. I look lousy, but don’t rub it in.

Dally: Do y’all want somethin’ to eat or not?

Ponyboy:

You’d better believe it.

Johnny: Gee, it sure will be good to get into a car again.

Dally: Well, I’ll give you a ride for your money.

Ponyboy: (thinking)

Dally always did like to drive fast, as if he didn’t care whether he got where he was going or not, and we came down the red dirt road off Jay Mountain doing eighty-five. I like fast driving and Johnny was crazy about drag races, but we both got a little green around the gills when Dally took a corner on two wheels with the brakes screaming. Maybe it was because we hadn’t been in a car for so long. We stopped at a Dairy Queen and the first thing I got was a Pepsi. Johnny and I gorged on barbecue sandwiches and banana splits.

Dally: (amazed) Glory, you don’t need to make like every mouthful’s your last. I got plenty of money. Take it easy, I don’t want you getting’ sick on me. And I thought I was hungry!

Ponyboy: (thinking)

Johnny merely ate faster. I didn’t slow down until I got a headache.

Dally: I didn’t tell y’all something. The Socs and us are having all-out warfare all over the city. That kid you killed had plenty of friends and all over town it’s Soc against Grease. We can’t walk alone at all. I started carryin’ a heater …

Ponyboy: Dally. You kill people with heaters!

Dally: (in a hard voice)

Ya kill ‘em with switchblades, too, don’t ya, kid? Don’t worry, it ain’t loaded. I ain’t aimin’ to get picked up for murder. But it sure does help a bluff. Tim Shepard’s gang and our outfit are havin’ it out with the Socs tomorrow night at the vacant lot. We got hold of the president of one of their social clubs and had a war council. Yeah, just like the good old days. If they win, things go on as usual. If we do, they stay outa our territory but good. Two-Bit got jumped a few days ago. Darry and me came along in time, but he wasn’t havin’ too much trouble. Two Bit’s a good fighter. Hey, I didn’t tell you we got us a spy.

Johnny: A spy? Who?

Dally: That good-lookin’ broad I tried to pick up that night you killed the Soc. The redhead, Cherry what’s-her-name.

Appendix #16c


Focus Question #4 What does Ponyboy mean when he thinks, “I had taken the long way around, but I was finally home. To stay.” in Chapter 6? What has he finally figured out about Darry?

Answer Plan: What to do 1. Begin to answer the question by referring to Ponyboy’s change of heart. 2. Explain why Ponyboy has a change of heart toward Darry and the events that lead

him to this feeling. 3. Describe how Darry treats Ponyboy and cite some reasons for Darry’s behavior. 4. Conclude by explaining the revelation that Ponyboy has had about his family.

Use a quote, if possible.

Possible Answer: (1) In Chapter 6 Ponyboy realizes a great deal about his relationship with his brother, Darry. (2) Throughout the novel Darry seems to be tough on Ponyboy. (3) For example, near the end of Chapter 3, Ponyboy accidentally falls asleep and comes home late to find Darry very upset. He yells at Ponyboy and doesn’t listen to his excuse. Although Ponyboy continues to apologize the argument gets heated and Darry ends up slapping Ponyboy. (4) When Ponyboy sees Darry crying, he realizes that Darry’s strict actions are due to his love for Ponyboy and the fact that Darry only wants what is truly best for Ponyboy. Pony realizes also that Darry really wanted Ponyboy. On p. 98 Ponyboy thinks, “Darry did care about me, maybe as much as he cared about Soda, and because he cared he was trying too hard to make something of me.” Appendix #17


Readers Theater Script: The Outsiders, Chapter 7 Ponyboy: (thinking) Two-Bit: Randy: Ponyboy: (thinking) Randy: Ponyboy: Randy: Ponyboy: Randy: Ponyboy: Randy: Ponyboy: (thinking) Randy:

I would have laughed, but I had a terrific headache. We stopped at the Tasty Freeze to buy Cokes and rest up, and the blue Mustang that had been trailing us for eight blocks pulled in. I almost decided to run, and Two-Bit must have guessed this, for he shook his head ever so slightly and tossed me a cigarette. As I lit up, the Socs who had jumped Johnny and me at the park hopped out of the Mustang. I recognized Randy Adderson, Marcia’s boyfriend, and the tall guy that had almost drowned me. I hated them. It was their fault Bob was dead; their fault Johnny was dying; their fault Soda and I might get put in a boys’ home. I hated them as bitterly and contemptuously as Dally Winston hated. You know the rules. No jazz before the rumble. We know. Come here. I want to talk to you, Ponyboy. I glanced at Two-Bit. He shrugged. I followed Randy over to his car, out of earshot of the rest. We sat there in his car for a second, silent. Golly, that was the tuffest car I’ve ever been in. I read about you in the paper. How come? I don’t know. Maybe I felt like playing hero. I wouldn’t have. I would have let those kids burn to death. You might not have. You might have done the same thing. I don’t know. I don’t know anything anymore. I would never have believed a greaser could pull something like that. Greaser didn’t have anything to do with it. My buddy over there wouldn’t have done it. Maybe you would have done the same thing, maybe a friend of yours wouldn’t have. It’s the individual. I’m not going to show at the rumble tonight. I took a good look at him. He was seventeen or so, but he was already old. Like Dallas was old. Cherry had said her friends were too cool to feel anything, and yet she could remember watching sunsets. Randy was supposed to be too cool to feel anything, and yet there was pain in his eyes. I’m sick of all this. Sick and tired. Bob was a good guy. He was the best buddy a guy ever had. I mean, he was a good fighter and tuff and everything, but he was a real person too. You dig?” He’s dead – his mother has had a nervous breakdown. They spoiled him rotten, I mean, most parents would be proud of a kid like that – good lookin’ and smart and everything, but they gave in to him all the time. He kept trying to make someone say “No” and they never did. They never did. That was what he wanted. For somebody to tell him “No.” To have somebody lay down the law, set the limits, give him something solid to stand on.

Appendix #18a


Ponyboy: Randy: Ponyboy: Randy: Ponyboy: Ponyboy: (thinking) Randy: Ponyboy: Randy: Ponyboy: Two-Bit: Ponyboy: Two-Bit: Ponyboy: Ponyboy: (thinking)

That’s what we all want, really. One time…one time he came home drunker than anything. He thought sure they were gonna raise the roof. You know what they did? They thought it was something they’d done. They thought it was their fault – that they’d failed him and driven him to it or something. They took all the blame and didn’t do anything to him. If his old man had just belted him – just once, he might still be alive. I don’t know why I’m telling you this. I couldn’t tell anyone else. My friends – they’d think I was off my rocker or turning soft. Maybe I am. I just know that I’m sick of this whole mess. That kid – your buddy, the one that got burned – he might die? Yeah. And tonight…people get hurt in rumbles, maybe killed. I’m sick of it because it doesn’t do any good. You can’t win, you know that don’t you? You can’t win, even if you whip us. We’ll still be the lucky ones with all the breaks. So it doesn’t do any good, the fighting and the killing. It doesn’t prove a thing. We’ll forget it if you win, or if you don’t. Greasers will still be greasers and Socs will still be Socs. Sometimes I think it’s the ones in the middle that are the really lucky stiffs…. So I’d fight if I thought it’d do any good. I think I’m going to leave town. Take my little old Mustang and all the dough I can carry and get out. Running away won’t help. Oh, hell, I know it, but what can I do? I’m marked chicken if I punk out at the rumble, and I’d hate myself if I didn’t. I don’t know what to do. I’d help you if I could. I remembered Cherry’s voice. Things are rough all over. I knew then what she meant. No you wouldn’t. I’m a Soc. You get a little money and the whole world hates you. No, you hate the whole world. You would have saved those kids if you had been there. You’d have saved them same as we did. Thanks, grease, I didn’t mean that. I meant, thanks, kid. My name’s Ponyboy. Nice talkin’ to you, Randy. What’d he want? What’d Mr. Super-Soc have to say? He ain’t a Soc. He’s just a guy. He just wanted to talk. You want to see a movie before we go see Johnny and Dallas? Nope. I still had a headache, but I felt better. Socs were just guys after all. Things were rough all over, but it was better that way. That way you could tell the other guy was human too.

Appendix #18b


Focus Question #5 What does the dialogue in Chapter 7 show us about how Ponyboy is changing his attitude toward Socs?

Answer Plan: What to do 1. Introduce the answer. 2. Reiterate the conflicts that the Greasers and the Socs have had throughout the

novel. 3. Explain the change in Ponyboy’s attitude with support from the dialogue used in

the text. 4. Conclude by explaining how Ponyboy is now feeling about the differences in the

two gangs. Possible Answer: (1) Ponyboy is changing his attitude toward the Socs. (2) Throughout the novel the Greasers and the Socs have never been friends and are always fighting. They are in different ‘gangs’ due to their social and economic backgrounds. As Ponyboy is introduced in the beginning of the novel we find out about the long-standing rivalry between them and the background of the conflicts between them. (3) The change in Ponyboy’s feelings are shown on page 115 when Ponyboy is talking to the Soc, Randy, about the rescue, “Greaser didn’t have anything to do with it. My buddy over there wouldn’t have done it. Maybe you would have done the same thing, maybe a friend of yours wouldn’t have. It’s the individual.” Randy also talks about Bob’s life before Johnny killed him. (4) Ponyboy realizes that Cherry’s comment about things being rough all over was true. Even though the Socs were privileged with money and material things, they had problems in their lives just like the Greasers.

Appendix #19


Focus Question #6 What role does the gang play in the Greasers’ lives? For each of the members, explain their individual need for the gang. Cite examples from the novel to clarify your answer.

Answer Plan: What to do 1. Restate the question. 2. Explain how the gang plays a role for each member, citing examples

from the novel. 3. Conclude with a summary statement.

Possible Answer: (1) Being in a gang is an important part of the Greasers’ lives. The camaraderie of the Greasers has helped each member deal with the hardships in their lives. (2) Ponyboy and his brothers have struggled with losing their parents and having to take care of themselves. They seem to be the ‘heart’ of the Greasers - the solidarity that holds them together. Johnny needs the gang because his home life is terrible with extreme domestic violence. Two-bit comes from a poor, broken home. Steve’s background isn’t discussed much, but he is best friends with Sodapop and naturally is part of the gang. Dallas comes from gangs in New York and is seen as the ‘hardest’ Greaser. He truly cares for Johnny. (3) The gang serves as a ‘family’ for each of the members. Appendix #20


Chart: Characters - Reason to Fight

Sodapop – “It’s action. Like a drag race or a dance or something.” (Fun) Steve – “When I get in a fight I want to stomp the other guy good. I like it, too.” (Hatred) Darry – “Darry liked anything that took strength, like weight-lifting or playing football or roofing houses…Darry never said anything about it, but I knew he liked to fight.” (Pride) Ponyboy – “…I’ll fight anyone anytime, but I don’t like to.” (Loyalty) Two-Bit – “…Shoot, everybody fights.” (Conformity) Appendix #21


Conflicts by Chapter Conflict: Man vs. Man 1. Chapter One: Ponyboy explains the differences between the Greasers

and the Socials and how they are always at odds. 2. Chapter One: Ponyboy is surrounded by Socs and gets beaten up until

his gang comes to rescue him. 3. Chapter Two: Ponyboy explains how Johnny was jumped by the Socs

before and was hurt badly. 4. Chapter Two: Two-Bit explains to Cherry and Marcia his “philosophy”

on fighting and how the Greasers feel about it. 5. Chapter Three: Cherry and Johnny discuss the “differences” and

similarities between the two classes and the conflicts that take place. 6. Chapter Three: Ponyboy gets slapped by his brother for being late and

making he and Sodapop worry. 7. Chapter Three: Johnny’s family problems are introduced and he talks

about his father’s violence toward both him and his mother. 8. Chapter Four: Johnny and Ponyboy get into a fight with the Socs and

Johnny stabs and kills Bob as they are trying to drown Ponyboy in the park fountain.

9. Chapter Eight: Johnny refuses to let his mother see him in the hospital because of the way she treats him.

10. Chapter Nine: The gang discusses why each of them chooses to fight. 11. Chapter Nine: The Greasers meet up with Tim Sheppard’s gang to fight

against the Socs. The Greasers “win”. 12. Chapter Ten: Dally gets shot by the cops after he robs a store and pulls a

gun on the cops. 13. Chapter Twelve: Three Socs drive up to Johnny at the grocery store. He

busts his Pepsi bottle and waves it around to show them he isn’t scared. The Socs leave.

Appendix #22


“Nothing Gold Can Stay” by Robert Frost

Nature’s first green is gold,

Her hardest hue to hold. Her early leaf’s a flower;

But only so an hour. Then leaf subsides to leaf.

So Eden sank to grief, So dawn does down to day.

Nothing gold can stay.

Appendix #23


Focus Question #7 Explain what the poem by Robert Frost means and what it represents in the novel. Discuss how the poem relates to challenges in the characters’ lives. How does the poem relate to life in general?

Answer Plan: What to do 1. Restate the question. 2. Explain what you think the poem means and how it represents

situations in the novel. 3. Discuss the characters in the novel and how the poem relates to each of

them. 4. Conclude by explaining how you see the poem as it relates to life in

general. Be specific. Appendix #24


Focus Question #8 Sometimes in life, people face prejudice because they are different from others. Margot in “All Summer In a Day” and the Greasers in The Outsiders faced prejudice. Use specific examples from both selections to prove this statement. Use specific details and examples from “All Summer In a Day” and The Outsiders to support your answer. Use the rubric and checklist as you write and review your response: CHECKLIST FOR REVISION: _____Do I take a position and clearly answer the question I was asked? _____Do I support my answer with examples and details from both of the

selections? _____Is my writing organized and complete? Appendix #25


DRAFT 5/30/02 Michigan Educational Assessment Program

Integrated English Language Arts Assessment MS – HS Rubric

Writing in Response to Reading

6 The student effectively synthesizes and applies key ideas, generalizations, and principles from within each reading selection to support a position in response to the scenario question and makes a clear connection between the reading selections. The position and connection are thoroughly developed through the use of appropriate examples and details. There are no misconceptions about the reading selections. There are strong relationships among ideas. Mastery of language use and writing conventions contributes to the effect of the response.

5 The student makes meaningful use of key ideas from within each reading selection to support a position in

response to the scenario question and makes a clear connection between the reading selections. The position and connection are well developed through the use of appropriate examples and details. Minor misconceptions may be present. Relationships among ideas are clear to the reader. The language is controlled, and occasional lapses in writing conventions are hardly noticeable.

4 The student makes adequate use of ideas from within each reading selection to support a position in

response to the scenario question and makes a connection between the reading selections. This position and connections are supported by examples and details. Minor misconceptions may be present . Language use is correct. Lapses in writing conventions are not distracting.

3 The student make adequate use of ideas from one reading selection OR makes partially successful use of

ideas from both reading selections to support a position in response to the scenario question. The position is developed with limited use of examples and details. Misconceptions may indicate only a partial understanding of the reading selections. Language use is correct but limited. Incomplete mastery over writing conventions may interfere with meaning some of the time.

2 The student makes partially successful use of ideas from one reading selection OR minimal use of ideas

from both reading selections to support a position in response to the scenario question. The position is underdeveloped. Major misconceptions may indicate minimal understanding of the reading selections. Limited mastery over writing conventions may make the writing difficult to understand.

1 The student does not take a position on the scenario question but makes at least minimal use of ideas from

one or both of the reading selections to respond to the scenario question or theme OR minimally uses ideas from only one of the reading selections to support a position in response to the scenario question. Ideas are not developed and may be unclear. Major misconceptions may indicate a lack of understanding of the reading selections. Lack of mastery over writing conventions may make the writing difficult to understand.

Not ratable if: a retells/references the reading selections with no connection to the scenario question or theme b off topic c illegible/written in a language other than English d blank/refused to respond e responds to the scenario question with no reference to either of the reading selections Appendix #26

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