ELA Unit 1 G8

\flhen I had to sit down on the curb, I felt as if I had my father down.

I'd glance up anxiously when I felt his shadow ovet me; t he looked neither

angry nor disgusted-just puzzled, as if he could not u rstand why my

lungs were not like his.

"S-s-sorry." I panted.

"That's okay." He squatted and waved his hat, trying fan more air at me.

In the background, Eddy played catch with himsel(, wai ng impatiently for perpetual
ao the lessons to begin again. Ashamed, I would gasp. "Go n...andplay." (per-pEc h'6-o-el ) adi.
continuing without
And Father and Eddy would start once more while I hed, doomed to be interruption

positively un-American, a weakling, a pglpelqal specta , an outsider. \forse, o coNFlrcr
Reread lines z8-33.
I felt as if Eddy were Fathert only true son. @ It was Eddy who Why does Yep feel
And then came the day when the rat invaded our s "un-American" and "as
if Eddy were Father's
first noticed it while we were restocking the store shelves I was stacking only true son"?

packages of pinto beans when Eddy called me. "Hey, do know what this o CONFLICT
What external conflict is
is?" He waved me oyer to the cans of soup. On his palm some dark drops. the Yep family facing?

"Is it candy?" o CHRONOLOGICAL
ORDER
Father came out of the storeroom in the rear of our s . Over his back, he Describe Father's first
two attempts to catch
so carried a huge hundred pound sack of rice. He let it thu to the floor right the rat. Add them to
your chart.
away. "Throw that away."
"\7hat is it, Father?" I asked. tr CHRONOLOGICAL
ORDER
"Rat droppings," he said. "Go wash your hands." Reread lines 5z-6o.
What words make clear
"Yuck." Eddy flung the droppings down. get ri of the evidence. Then the order in which events
'!7hile Eddy washed his hands, I helped Father occurred? Add the
events to your chart.
he got some wooden traps from a shelf and we set them

However, the traps were for mice and not for rats. T rat must have gotten

.oa good laugh while it stole the bait and set off the sprin

Then Father tried poison pellets, but the rat avoided all. It even left a

5o souvenir right near the front door. ing around." @
Father looked grim as he cleaned it up. "I'm through
Cockroach King of
So he called up his exterminatol friend, Pete'Wong,

Chinatown. \7hile Pete fumigated3 the store, we stayed with myAunt Nancy

over on Mason, where the cable cars kept me up late. always rang their

bells when they rounded the corner. Even when they 't there, I could

hear the cable rattling in its channel beneath the street. was OK, though,

because my cousin Jackie could tell stories all night.
The next day, when we went back home, Father sea hed around the

store, sniffing suspiciously for deadly chemicals. Mot went upstarrs to our

60 aparrment over the store to get our electric fan. @

She came right back down empty-handed. "I think 's moved up there. I

could hear him scratching behind the living room wal ,)

Father stared at the ceiling as ifthe rat had gone too "Leave it to me," he

said. He fished his car keys from his pocket.

exterminator (Yk-st0r'ma-na'ter): a person whose job it is to get rid of or rodents.
fumigated (f yo;o'mY-gat'd)r used smoke or fumes to kill rodents or

126 uNrr 1: PLor AND coNFlrcr

"\(/here are you going?" Mother asked.

Father, though, was a man of few words. He rred to speak by his actions.

"I'11 be back soon." LanguageCoach

An hour and a half later he returned with a r . He held it up for the three Oral Fluency When
of us to examine. "Isn't it a beaut? Henry Loo I ned it to me." Henrv Loo was the letters ph appear
at the beginning of a
zo a pharmacist and one of Father's fishing buddie off in my house." word, they combine to
Mother frowned. "You can't shoot that can cartridges out ofhis jacket form anl[sound, as in
"It's just a twenty-two." Father tugged a box the word pharmacist.
Reread lines 68-7o,
pocket. "Let's go, boys." pronouncing
pharmacist correctly,
Mother sucked in her breath sharply. "Th

Father was surprised by Mother's objection. ey've got to learn

sometime."

Mother turned to us urgently. "It means killi Like buying Grandpop's

chickens. But you'11 be the ones who have to e it dead."

"It's not the same," Father argued. "\7e won' have to twist its neck."

80 Buying the chicken was a chore that everyo tried to avoid at New Year's

when Mother's father insisted on it. To make s the chicken was fresh, we

had to watch the poulterel kill it. And then had to collect the coppery-
smelling blood in a jar for a special dish that o y Mother's father would eat.
For a moment, I felt queasy.

"You're scaring the boys," Father scolded her. ought to know what
Mother glanced at him over her shoulder. "

they're getting into."

fi[ a,a,r, believe in killing-unless it was a bug ike a cockroach. However, I rationalize
EI f.t, different when I saw a real rifle-the shi barrel, the faint smell of oil, (rEsh'e-ne-liz') v. to make
qo the decorated wooden stock. I rationalized the nt by telling myself I was not explanations for one's
behavior
murdering rabbits or deer, just a mean old rat ike a furry kind of cockroach.
o coNFLlcT
"\7hat'll it be, boys?" Father asked. Reread lines 88-to3.
Why is Yep torn between
Taking a deep breath, I nodded my head. " staying with his mother
and going to help hls
Father turned expectantly to Eddy and rai an eyebrow. father?

From next to me, though, Eddy murmured, I think I'll help Mother." He

wouldn't look at me.
Father seemed just as shocked as Mother an I. 'Are you sure?"

Eddy drew back and mumbled miserably. ''

Mother gave me a quick peck on the cheek. I expect you to still have ten

r00 toes and ten fingers when you finish'" It triumphant. For once, it was
As we left the store, I felt funny. Part of me part of me wished I were

Eddy who had failed and not me. And yet an

staying with him and Mother. @
Father said nothing as we left the store and imbed the back stairs. As I

trailed him, I thought he was silent because he disappointed: He would

rather have Eddy's help than mine.

4. poulteret (pol'ter-ad: a person who sells domestic fowls, as chickens, turkeys, ducks, or geese.

THE GREAT RAT HUNT 127

At the back door of our apartment, he paused and said brusquely, "Now for brusquely (brUsk'16) adv
in an abrupt, sudden
some rules. First, never, never aim the rifle at anyone." manner

] reserve (rY-z0rv') n. self-
restraint in the way one
I listened as attentively as I had the disastrous times he'p tried to teach me looks or acts

rro how to dribble, or catch a football, or handle a pop foul. "[ won't." I nodded o coNFLrcT
How does Yep think his
earnestly. father sees him?

Father pulled a lever near the middle of the gun. "Nextf make sure the rifle wince (wins) v. to flinch
or shrink in pain or
is empty." He let me inspect the breech.5 There was nothifig inside.
d i stres s
"Yes, sir," I said and glanced up at him to read his moop. Because Father
G fiRAfulMAR IN
used so few words, he always sounded a little impatient wfrenever he taught me
a lesson. However, it was hard to tell this time if it was gel.ruine irritation or his CGNTEX?
ln lines BS-137,
normal reserve. @ l Lawrence Yep uses the
past perfect tense when
H. -.r.ly gr,rit.d. "Here. Open this." And he hande{ me the box of he writes "His mother
had stayed back in
cartridges. China.... "

t2o I was so nervous that the cartridges clinked inside the pox when I took it. As @ CHRONOLOGICAL
ORDER
I fumbled at the lid, I almost felt like apologizing for not ]being Eddy. What action is taking
Now, when I got edgy, I was the opposite of Father: I $ot talkier. "How did place at the same time
you learn how to hunt?" I asked. "From your father?" the father is talking
I about his past?

My father rarely spoke of his father, who had died I was born. He

winced now as if the rat had just nipped him. "My old nfan? Nah. He never

had the time. I learned from some of my buddies in Chir[atown."6 He held out

his hand.

I passed him a cartridge. "\7hat did you hunt? Bear?"
"\7e shot quail." Father carefully loaded the rifle.

130 I was uncomfortable with the idea of shooting the cu little birds I saw in

cartoons. "You did?"

He clicked the cartridge into the rifle. "You have to tough in this world,

boy. There are going to be some times when nobodyt nd to help-like

when I first came to America."

That was a long speech for Father. "You had your fat ." His mother

had stayed back in China, because in those days, Amer a would not let her

accompany her husband. $

"He was too busy working." Father stared back down]the stairs as if each
step were ayear. "\fhen I first came here, I got beaten dp by the white kids.
r+o And when the white kids weren't around, there were the]other Chinese kids."

I furrowed my forehead in puzzlement. I handed hirn]another cartridge.

"But they were your own kind."

He loaded the rifle steadily as I gave him the ammu tion. "No, they

weren't. The boys born here, they like to give a Chin rn a hard time. They
thought I'd be easy pickings. But it was always a clean ht. No knives. No

guns. Just our feet and fists. Not like the punks " He snapped the
last cartridge into the rifle. "Then I learned how to their games, and I

made them my friends." He said the last part with ,@

breech: the part of a gun behind the barrel. Chinese population with

Chinatown: the name given to some neighborhoods in which there is a
prominent Chinese cultural influence.

128 UNIT 1: PLOT AND CONFLICT

And suddenly I began to undersrand all the t{ophies and medals in our ^f,"illfilr"

r50 living room. They weie more than awards for spprts. Each prize was a sign How would you describe
the mood of this
thrt Ly father belonged to America-and at th! same time, to Chinatown. painting? Tellwhat
elements of the image
And that was why he"tried so hard now to teach sports to Eddy and me. contribute to the mood.

\When I finally understood what sports really meant to my father, it only ineptitude
magnified the scale of my ineptitudi. "I'm not pood at fighting-" As I closed
the"lid on the box of ammunitio.r, I thought I o{rght to prepare him for future (Yn-5p'tY-to-od') n.

disappointments. "I'm not much good at anythiirg'" clumsiness; lack of
competence
i"r.f,rl to keep the rifle pointed away from r{re, Father unlocked the door
"I said you have L b. .o.rgh, not stupid. No reafon to get a beat-up old mugT

like mine." with your face?"
the door and jerked his head
160 I shook my head, bewildered. "What's couldn't fix."
as I grabbed the doorknob.
fFather seemed amused. He stepped away to win a beauty contest." He
time, but never'interesting.'
for me to open it. "It's nothing that a steamrol
"But you have an interesting face," I Protest
'Are you blind, boy? This mug isn't ever goi

chuckled. "I've been called a lot of names in

You've got a way with words."

7. mug: face

THE GREAT RAT HUNr' 129

The doorknob was cold in my hand. "I do?"

Father adjusted his grip on the rifle. "I wouldn't buy aff real estate from

you." And he gave me an encouraging grin. "Now let's kifl that rat."

t70 \7hen I opened the door, our home suddenly seemed {s foreign to me as
Africa. At first, I felt lonely-and a little scared. Then I $eard Father reassure

me, "f'm with you, boy."

Feeling more confident, I crept through the kitchen a into the living

room. Father was right behind me and motioned me to rch one half of the
room while he explored the other. \When I found a hole the corner away

From the fireplace, I caught Father's eye and pointed.

He peered under a chair with me and gave me an ing wink. "Give me

a hand," he whispered.

In silent cooperation, we moved the chair aside and t n shifted the
rso sofa over until it was between us and the rat hole. Bit by it. Father and I

constructed an upholstered barricade. I couldn't have n prouder if we'd barricade (bEr'Y-kdd') n.
a structure that blocks
built a whole fort together. Passage

Father considerately left the lighter things for me to I t, and I was grateful improvised (Ym'pre-vizd')
adj.to put together
for his thoughtfulness. The last thing I wanted was to asthma now from with little preparation or
planning improvise v.
overexertion. \fhen we were done, Father got his rifle the corner where
vigilant (vYj'e-lent) adj.
he had left it temporarlly. watchful;alert

As we crouched down behind our improvised wall, r rested the rifle o coNFLrcT
Reread Iine r96.
on it. "\(/e'll take turns watching." Compare the
"companionable
"Yes, sir," I said, peering over the barrier. There wasn so much as a whisker silence" Yep describes
here with an earlier
190 in the hole. statement, "l thought
he was silent because
\7hile I scanned the hole with intense radar eyes, Fat[rer tried to make he was disappointed."
Why does Yep view the
himself comfortable by leaning against the sofa. It me feel important to si lence d ifferently the
second time?
know Father trusted me; and I was determined to do wfll. In the center of the

living room wall was the fireplace, and on its mantel stdod Father's trophies

like ranks of soldiers reminding me to be vigilant.

\7e remained in comp".riorrlbl. ril..,..TJ r*ybe thfee quarters of an hour.

Suddenly, I saw something flicker near the mouth of thb hole. "Father," I

gwhispered.
l
p"th., popp.d up alertly and took his rifle. Squeezinlg one eye shut, he

zoo sighted on the rat hole. His crouching body grew tense.]"Right." He adjusted

his aim minutely. "Right. Take a breath," he recited to lrimself. "Take up the
slack. Squeeze the trigger." Suddenly, he looked up, sta{tled. "\7here'd it go?"

As the gray shape darted forward, I could not contrll my panic. "It's coming

straight at us."

The rifle barrel swung back and forth wildly as Fath]er tried to aim.

"\7here?"

I thought I could see huge teeth and beady, violent {yes. The teeth were the

size of daggers and the eyes were the size of baseballs, alnd they were getting

bigger by the moment. It was the rat of all rats. "Shootiit!" I yelled.

13O uNIT l: PLor AND coNFlrcr

2to "\fhere?" Father shouted desperately. escape. "Itt charging."

My courage evaporated. All I could think of

Springing to my feet, I darted from the room.

"Oh, man," Father said, and his footsteps after me.

In a blind panic, I bolted out of the apar and down the back stairs and

into the store. @ yelled as he slammed the o cHRoNoLoGlcAL
ORDER
"Get the SPCA8. I think the rat's mad," Fat How much time do you
think passes from when
door behind him. Yep and his father begin
their rat hunt until they
Mother took the rifle from him. "I'd be an too if someone were trying give up? Explain your
reasoning.
to shoot me." ld hear the rat scurrying
ravage (r5v'Yj) n. serious
220 "No." Father panted. "I mean it's rabid."e \(/e damage or destruction

above us in the living room. It sounded as if it doing a victory dance. tanguageCoach

Mother made Father empty the rifle. "You rn that to Henry Loo Homophones
tomorrow," she said. 'IVe'll learn to live with t rat," Homophones are
words that sound alike
As she stowed the rifle in the storeroom, Far tried to regather his dignity. but have different
"It may have fleas," he called after her. meanings and
spellings. The words
Now that my panic was over, I suddenly aware of the enormity of won and one are
homophones. Which
what I had done. Father had counted on me to lp him, and yet I had run, of the two words is
used in line z5o? Tell
leaving him to the ravages of that monster. I worse than a failure. I was a what it means.

coward. I had deserted Father right at the time needed me most. I wouldn't

230 blame him if he kicked me out of his family.

]

It took what little nerve I had left to look up {t my father. At that momenr,
he seemed to tower over me, as grand and remo{e as a monument. "I'm sorry,"

I said miserably.

He drew his eyebrows together as he clinked shells in his fist. "For
[he
what?"

It made me feel even worse to have to explairt in front of Eddy. "For
running," I said wretchedly.
I
He chuckled as he dumped the cartridges his shirt pocket. "\7ell, I ran
intp

too. Sometimes itt smart to be scared."

"\7hen were you ever scared?" I challeng.a ili-.

He buttoned his pocket. "Plenty of times. Li[e when I came to America.

They had to pry my fingers from the boat railirfg."

It was the first time I'd ever heard my father confess to that failing. "But

you're the best at everything."

"Nobody's good at everything." He gave his fread a little shake as if the very
notion puzzled him. "Each of us is good at soqe things and lousy at others.

The trick is to find something that you're good]at."

I thought again of the mantel where all of F{ther's sports trophies stood.

z:o lucky to win even one.
"I'm lousy at sports," I confessed.

SPCA: Society for the Prevention of Cruelty to Animals.
rabid: affected by the viral disease rabies.

THE GREAT RAT HUNT 13I

His eyes flicked back and forth, as if my face were a look open for his @ CON FLICT
How has Yep's
inspection. He seemed surprised by what he read there. relationship with his
Slowly his knees bent until we were looking eye to ey6. "Then you'll find father changed since the
beginning of the story?
something else," he said and put his arm around me. My father never let
people touch him. In fact,I hardly ever saw him hug Mother. As his arm

tightened, I felt a real love and assurance in that embrage. 6

sP. after that, the rat left as mysteriously as it had come. "I must've

Qlhortly
*,eTscared it off," Father announced.

260 Mother shook her head. "That rat laughed itself to dd"th."

Father disappeared into the storeroom: and for a morhent we all thought

Mother had gone too far. Then we heard the electric sa]" that he kept back

there. "\7hat are you doing?" Mother called.

He came back out with a block of wood about two iilches square. He was

carefully sandpapering the splinters from the edges. "lr!"yb. some day we'II

find the corpse. Its head ought to look real good over the fireplace."

Mother was trying hard to keep a straight face. "Yoq can't have a trophy

head unless you shoot it."

"If it died of laughter like you said, then I killed it," fre insisted proudly.
270 "Sure as if I pulled the trigger." He winked at me. "Get the varnish out for our

trophy will you?"

i *", *riking away when I realized he had said "ouf." I turned and said,

"That rat was doomed from the start." I heard my pardnts both laughing as I

hurried away. c\,

132 uNrr r: PLor AND coNFlrcr

After Reading

Comprehension i COMMONCORE

l. Recall How do Laurence and his brother differ Rl 3 Analyze how a text makes
connections among individuals,
2. Recall What compliment does Laurence's fa give him? ideas,and events. Rl 5 AnalYzethe
structure of a text.
3. Clarify What happens to the rat at the end of he selection?

Text Analysis

I 4. ldentify Chronological Order Review the chart made as you read. Does

it contain all the important events of the selec n? lf not, add them now.
Then use your chart to tell what happened ri before Father ran out ofthe

apartment. What happened right after?

O 5. examine Conflict ln a conflict map like the o shown, note one of the
selection's most important conflicts and the that lead to its resolution,

or outcome.

J

Evert, Evett'

.J,

Resolvtiott,

6. Analyze Characters Even though Yep was sca he still agreed to helP his
father capture the rat. What do you learn abo t Yep from his actions?

Compare and Contrast Compare Yep's feelin about his role in the familY
in the beginning of the selection with his feel gs at the end. How are theY

different?

8. lnterpret Meaning Reread lines z7o-27t. W do you think it means that
Yep's father uses the word "ou r" to refer to th trophy?

Extension and Challenge rehearse a dramatic
play the role of Father, one
9. Creative Project: Drama With two other clas ct as the narrator. Perform
reading ofthe rat-hunt scene. Have one

student play the role ofYep, and one student
your reading for the class.

lfiIhen is it OK to be SCARE ?

I

Yep's father says, "Sometimes it's smart to scared." Do You think the
encounter with the rat was one of those or is Yep's father just trYing

to make himself and his son feel better? Exp n your answer.

THE GREAT RAT HUNT 133

Vocabulary in Context from barricade rationalize

A VOCABUTARY PRACT!CE brusquely ravage

For each item, choose the word that differs most in meani impro.tvised reserve
the other words.
ineptitude vigilant
l. (a)justify, (b) rationalize, (c) multiply, (d) explain
perpetual wince
2. (a) improvised, (b) ad-libbed, (c) invented, (d) practiced
3. (a) openness, (b) modesty, (c) reserve, (d) coolness
4. (a) destruction, (b) ravage, (c) construction, (d) ruin
5. (a) keen, (b) inattentive, (c) observant, (d)vigilant
6. (a) ineptitude, (b) awkwardness, (c) incompetence,

(d)gracefulness
7. (a)finite, (b) infinite, (c) constant, (d) perpetual

8. (a) abruptly, (b) gruffly, (c) brusquely, (d) kindly
9. (a) walkway, (b) barricade, (c)fence, (d) obstruction

10. (a)flinch, (b) wince, (c) strut, (d) cringe

ACADEMIC VOCABULARY IN SPEAKING

. affect . conclude . evident . imply . initial

Reread lines t3z-r59. What do Yep's father's words imply what it means to
be tough? Discuss the question with a small group. T ; arrive at an answer
that uses at least one Academic Vocabulary word.

VOCABUTARY STRATEGY: CONTEXT CLUES i COMMONCORE

Context clues are words and phrases in a text that su the definition of an L4a Use context (e.g., a word's
position or function in a sentence)
unfamiliar word. For example, an author might restate define an unfamiliar as a clue to the meaning of a word.
L 5b Use the relationship between
word, as in this sentence: lt was a Jarcical, ridiculous idea. An author might also words to better understand each
of the words.
compare an unfamiliar word to something that is fami r: The workers were os

expendable as week-old newspaper,

PRACTICE Use context clues in each sentence to help yo determine the Go to thinkcentral.com.
meaning of the underlined word. KEYWORD: HMLS-l34

1. The iridescent tail feathers spread like a rainbow nd the bird's back.
2. He jpsUed the other passengers, pushing them asid as he moved toward

the door.
3. Her azure eyes sparkled like bits of cloudless sky.

4. She was contrite, sorry for all the trouble she had

134 uNrr r: PLor AND coNFlrcr

Language I COt,ttttON COnf

* e mgsfteeA* lr* {&ruTExr: us* Fast Ferfcet eorreetlY L 1 Demonstrate command of
standard English grammar when
The tense of a verb indicates the time of the act or the state of being. There writing. W2 WriteexPlanatory
are six verb tenses, each expressing a range ofti texts.

The past perfect tense shows that an action or on in the past came

before another past action or condition' For an mple of how Lawrence
Yep uses the past perfect tense to make the order f events clear, review the

Grammar in Context note on page tz8' For a example of the Past Perfect

tense, see the sentence below:

Example: She had decided not to go, so he led without her.

To form the past perfect tense, combine the verb with the Past ParticiPle.

Fasf Perf*e* tr $inge*f*r F F{errstr

had+past particiPle ) had left we had left
qou ha.d left
qou han left
he/she/it had le{t theq had left laughinq

PRACTICE For each sentence, make the order of as clear as Possible bY
choosing the best tense ofthe verb in pa
cousins so theY knew she
1. Before she left, she (wrote, had written) to d wanted)to avoid trouble.
was coming. had become)a highlY

2. His first year in the United States, he (wants' ged) his sons to PlaY a
3. By the time he started high school, he
sed him.
respected athlete.

4. Now that he is a father, he (encourages' had

variety of sPorts.
5. They (felt, had felt) happy when they had

For more hetp with verb tenses, see Page R56 in he Grammar Handbook.

ft EA*f sI& -bvRlTl e!G e*N Ft EeTls [il Rat Hunt" bY resPonding to
improve Your writing.
YOUR Broaden your understanding of"The
this prompt. Then use the revising tip
@
IURN

Extended Constructed Response: Comparison Review your work. Make sure @tr*Ml
Both Laurence Yep and his father felt like you have used Past Perfect tense T-rryti*t "a-trth,rin-ktcte-,n,tral.com'
to describe anY Past actions or I I
outsiders. ln two or three paragraphs, compare conditions that come before t
their experiences, including the conflicts each other past actions or conditions'
person faced and how he dealt with them'

THE GREAT RAT HUNT 135

tselore Reading

Paul Revere's Ri F

Poenr by HenryWadswor l-ongfellow

-Mfumm

dmmw fua" fufu fumry#ffi#

LEG ND?

i COMMONCORE Ceorge Washington was an a ng leader, but did he really never,
ever lie? When highly regarded le are famous for long enough,
RL 4 Determine the meaning they sometimes become legend
exaggerated. You're about to re and the stories about them are
ofwords and phrases as they a poem featuring one such Person.
are used in a text. RL 5 AnalYze
how the structure of [a] text DISCUSS ln a small grouP, come p with a list of people you consider
contributes to its meaning.
RLl0 Read and comprehend legendary. Think about sports oes, performers, and historical
poems.

figures. What do these people h in common? Why do you think

they became legends? Share ideas with the class.

O rexr ANArYsrs: NARRATIvE PoETRY Henry Wadsworth

You've read fictional stories, true stories, and stori presented Longfellow

dramatically. Now you're about to read a narr Poem, r8o7-r882

which is a poem that tells a story. Like a short sto , a narrative An Accomplished Teenager
When hewas just14, HenryWadsworth
poem has the following elements: Longfellow was accepted into Bowdoin
College in Maine. He did well in his studies
. a plot, or series of events that center on a faced by and had nearly 4o poems published before
he graduated. He learned French, ltalian, and
a main character Spanish and translated famous literary works
into English.
. a setting, the time and place(s) where the story
World Fame
setting is usually established in the exposition take part After traveling in Europe, Longfellow returned
the plot to teach at Harvard University. He continued
to write poetry that explored many
. character(s), or the individual or individuals important American themes. Works such as
The Song of Hiawatha and Tales of o Wayside
in the action Inn,which includes "Paul Revere's Ride,"
brought American history to the attention of
As you read "Paul Revere's Ride," notice how Long 'ellow uses readers around the world. Though the death
of his wife in t86t made Longfellow deeply
story elements to describe Paul Revere's adventur s. depressed, he remained extraordinarily kind,
courteous,and generous. He never refused to
Review:5uspense give an autograph or welcome visitors who
sometimes lingered around his house, hoping
t READ! NG SKI LL: PARAPHRASE for a glimpse of the famous author.

Have you ever explained a complex idea using e er language, BACKGROUND TO THE POEM

or retold a story in your own words? Restating By t775, many American colonists had begun
to rebel against the British government's
information in simpler terms is called A good interference in their affairs. On the night of
April r8, British troops left Boston, heading to
paraphrase includes allof the main ideas and ng Concord to arrest the rebel leaders and seize
their weapons stockpile. Hoping to warn
details of the originalsource and is usually just long, or the rebel leaders ofthe British advance, Paul
Revere, along with William Dawes and Dr.
longer. Paraphrasing challenginB passages can you better
Samuel Prescott, set off on
understand them. As you read "Paul Revere's R " use a chart a ride that would make
Revere a legend.
like the one shown to paraphrase parts of the such as

the following lines, that may be difficult to u stand:

Original: Meanwhile, his friend through alley street
Wanders and watches, with eager

Paraph rase: At the same time, his friend walks quiet
streets and alleys,looking and g carefully.

Une Numbcts , Paraphrase

Go to thinkrentral.com.
KEYWORD: HMLS-l37

ffil Complete the activities in your Reader/Writer Not book.

?aul aeret

ide Henry

W'adsworth
Longfellow

Listen, my children, and You shall 'Ptlli3,"

Of the midnight ride of Paul What mood does this
painting conveY?
On the eighteenth ofAPril, in ty-five;
NARRATIVE POETR\
Hardly a man is now alive According to the first
s \Who remembers that famous daY nd year. two stanzas, where does
the poem take Place?
He said to his friend, "If the Brit

By land or sea from the town to-n
Hang a lantern aloft in the belfrY rch

Of the North Church tower as a
ro One if by land, and two if bY sea;

And I on the opposite shore will

Ready to ride and sPread the alar
Through every Middlesexl village nd farm,

6For the country folk to be uP and arm."

1' Middlesex: a county in eastern Massach e setting ofthe first

battle of the Revolutionary War on April

138 UNIT 1: PLOT AND CONFLICT

Illustration by Christopher Bing.

u Then he said "Good-night!l' and with muffled oar O NARRATIVE POETRY
Silently rowed to the Charl{stown shore, What is the conflict
being described?
Just as the moon rose over the bay,
\flhere swinging wide at he[ moorin gs2 lay
The Somersra British man-pf-war;r
:o A phantom ship, with each mast and spara
Across the moon like a prispn bar,
And a huge black hulk, thalt was magnified
Bv its own reflection in the tide. @

Meanwhile, his friend thro]ugh alley and street

zi \flanders and watches, witli eager ears,
Till in the silence around $im he h.ars

The muster of men at the barrack door,
The sound of arms, ,rrd tl]e tramp of feet,
And the measured tread of the grenadiers,5
:o Marching down to their boats on the shore.

I

2. moorings: the place where the ship is docked.
3. man-of-war: a warship, often { Iarge sailing ship, bearing cannons and

other guns.
i

4. spar: a pole supporting a ship'l sail.
5. grenadiers (grEn'e-dirz'): Britigh foot soldiers.

PArrL REVERE's nros 139

Then he climbed the tower of the North Church,

By the wooden stairs, with stealthy tread,6 VISUAL
VOCABULARY
To the belfry chamber overhead,
belfry n. the bell tower in
And startled the pigeons from thei perch a church.

a: On the sombe/ rafters, that round im made O PARAPHRASE
Masses and moving shapes of
Reread lines 3t-4t.
By the trembling ladder, steep and Paraphrase this stanza,
remembering to include
To the highest window in the wal all details in your own
words. Add this to your
\7here he paused to listen and down chart.

ao A moment on the roofs of the o susPENsE
Reread lines 5z-56.
And the moonlight flowing over a What words or phrases
does the writer use in
Beneath, in the churchyard, lay t this passage to create a
feeling of suspense?
In their night encampment on the

\Trapped in silence so deep and I
,ns That he could hear, like a sentinel 8 tread,

The watchful night-wind, as it t

Creeping along from tent to tent,

And seeming to whisper, 'All is

A moment only he feels the spell

;o Of the place and the hour, and secret dread

Of the lonely belfry and the dead;

For suddenly all his thoughts are

On a shadowy something far awa
'Where the river widens to meet

ss A line of black that bends and .o
On the rising tide like a bridge

Meanwhile, impatient to mount ride,

Booted and spurred, with a hea stride

On the opposite shore walked Pa I Revere.

oo Now he patted his horset side,

Now he gazed at the landscape and near,

Then, impetuous,e stamped the rth,

And turned and tightened his s Ie girth;'o

But mostly he watched with search

5. stealthy tread: quiet footsteps. on impulse.
7. somber: gloomy. to a horse's body.
8. sentinel: a guard or sentry.

f. impetuous (Ym-p6ch'oo-es): acting

10. saddle girth:the strap attaching a sa

140 UNIT 1: PLOT AND CONFLICT

e: The belfry tower of the Old]North Church, O NARRATIVE POETRY
As it rose above the graves ofr the hill,
Lonely and spectralll and soinber and still. Who are the characters
And lo! as he looks, on the $elfryt height in this narrative poem?
A glimmer, and then a glearn of light!
O PARAPHRASE
zo He springs to the saddle, thf bridle he turns,
But lingers and gazes, tiil frlil on his sight Reread the lines 73-80.
A second lamp in the belfr/ burns. @ What's happening
in this passage?
A hurry of hoofs in a village srreer, Paraphrase the passage
A shape in the moonlight, a bulk in the dark, and add it to your chart.
z: And beneath, from the peb[les, in passing, a spark
Struck out by a steed flyin! fearless and fleeu Language Coach
That was alllAnd yet, rhro{gh the gloom and the light,
The fate of a nation was ri{ing that night; Personification Giving
And the spark struck out bf that steed, in his flight, human qualities to
so Kindled the land into flam]e with its heat. something that is
He has left the village ,nd frrornted the steep, not human is called
And beneath him, tranquiJ] and broad and deep, personifi cation. In lines
Is the Mystic,r2 meeting thp ocean tides; 97-roo, the meeting-
And under the aldersl3 that skirt its edge, house windows are
s: Now soft on the sand, .ror{ lo,rd on thI ledge, described as being
Is heard the tramp of his sfeed as he rides. @ able to look at things.
What does the poet
It was twelve by the,,illag{ clock, expect they will see?
\(hen he crossed the bridge into Medford town.
He heard the crowing of the cock,
so And the barking of the fa{mer's dog,
And felt the damp of the {iver fog,
That rises after the sun g{es down.

It was one by the village llo.k,
\fhen he galloped into L{xington.
cl He saw the gilded weathefcock
Swim in the moonlight a$ he passed,
And the meeting-ho,rr.lniindo*s, black and bare,
Gaze athim with a spe.tfal glare,
As if they already stood a]ghast'a
roo At the bloody work they fvould look upon.

11. spectral: ghostly.
12. Mystic: a short river flowing lnto Boston Harbor.
.l3. alder: tree of the birch familj.
14. aghast: (e-gdst'): terrified.

PAUL REvERE's ntop 141

It was two by the village clock, & NARRATIVE PQETRY
\When he came to the bridge in Concord town.
He heard the bleating" of the flock, What is the climax of
And the twitter of birds among the trees, the plot? Cive reasons
Lo; And felt the breath of the morning breeze for your answer.
Blowing over the meadow brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be l1,ing dead,
rro Pierced by a British musket ball.

You know the rest. In the books you have read

How the British RegularsL6 fired and fled,-

How the farmers gave them ball for ball,
From behind each fence and farmyard wall,
rr; Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load. @

So through the night rode Paul Revere;
rzo And so through the night went his cry of alarm

To every Middlesex village and farm,-

A cry ofdefiance, and not offear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermorel
12i For, borne on the nighewind of the Past,
Through all our history, to the last,
In the hour ofdarkness and peri|' and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
r:o And the midnight message of Paul Revere.

15. bleating: the cry of sheep.
16. British Regulars: members of Creat Britain's

standing army.
peril: danger.

IINIT I: PLOT AND CONFLIC'T

After Reoding

Comprehension of the Old North Church? i COMMONCORE
ul Revere hoped to
1. Recall How many lanterns were hung in the ink Revere's friend sees RL4 Determinethe meaning of
What do they signify? words and phrases as they are used
in atext. RL5 Analyze howthe
2. Summarize ln your own words, describe what structure of [a] text contributes
accomplish with his late-night ride. to its meaning. RL10 Read and
comprehend poems.
3. Represent Reread lines 37-56. Drawwhatyou
from the belltower.

Text Analysis ?ai Revqds Ridi'
! +. Analyze Narrative Poetry ln a chart like
Plat Events
the one shown, note the story elements
in "Paul Revere's Ride." Then tell the
main conflict and how it is resolved.

! S. Understand Paraphrasing Nowthat

you've read the whole poem, review the
paraphrases you wrote in your chart as
you read. Did you capture the correct
meaning in each case? lf not, revise your
paraphrases.

! 6. Analyze Suspense How did Longfellow create and excitement in the
rhyme, and repetition.
poem? Consider the way he used language,

Cite specific details to support your answer.

7. Evaluate Sensory Details "Paul Revere's Ride" s full of descriptive language
that appeals to the senses. List two or three i ages that you find most
striking. Why did you choose these?

Extension and Challenge

8. toa'or sruDrEs coNNEcroN Paut did more in his life than
army was on its way. Find out
Ql. ride to warn the colonists that the B

where he lived, what he did for a living, and a his involvement in the

"Sons of Liberty" before and during the Ame Revolution. Share your

findings with the class.

lf,rhen daes truth beeorrre GEND?

Reread lines rt9-r3o. On the basis of this , why do you think Paul
Revere became an American legend?

PAUL REVERE's RIDE 143

The Other Ride

History Article

What's the Con n?

?aal Rruere\ The poem you just read celebrat Paul Revere, but did you know he
?!1c",*_" was not the only brave rider on eve of the Revolutionary War? The
following article tells about two ually important but lesser-known
Use with "Paul Revere's heroes:William Dawes and Sa Prescott. Connect the information in
the article and the spirit of the
Ride," page r38. what happened on a historic to create your own impression of

I COMMONCORE Standards Focus: Ta Notes

Rl 1 Cite the evidencethat supports When you're trying to make logi I connections between texts, it's
an analysis ofwhat the text says often a good idea to take notes the texts as you read. Writing
down important facts and ideas
explicitly. Rl 9 Analyze a case in relationships between them. help you remember them and see
which two or more texts provide
Here are some tips for note-taki
conflicting information on the same
topic and identify where the texts First, preview the text by look at its title and any subheadings, topic
disagree.
sentences, and graphic aids to its topic and main ideas.

Next, decide how to organize r notes. For a single text, you might
use the subheadings to create simple outline. To make connections
between texts, you might to collect information in a graphic
organizer like the one shown.

As you take notes, paraphrase main ideas and record only the most

important facts and details u the appropriate headings. When

you paraphrase main ideas, them down in the order in which they

appear in the texts. Be sure include the names, dates, and terms

that are necessary for a full nding of the material.

For help taking notes on the fol ng article and the preceding poem,
use a graphic organizer like the started here.

troM ?au/ frou"The Ather Sinilarities and
Riders"
Revere's Dlffereilces

tfuin?artiujeants
tfuia Events

144 UNIT 1: PLOT AND CONFLICT

The Orber ftders s,,u C@YooucauresaoboNutFtooRrMead

Late on the night of April 1.8, L775, a history article, a
Boston patriot Joseph Warren learned nonfiction article
of a British military operation planned about real events and
for the next day. To warn John Hancock people of historical
and Samuel Adams, who were across importance.
the Charles River in Lexington, Warren
dispatched two riders, Paul Revere and Language Coach
William Dawes. Revere's ride has been
celebrated in poems and textbooks, but Word Definitions The
ro Dawes's role was at least as important. word isthmus refers to
the narrow strip of land
. l{/i//lam Oawes {unknown), attributed to lohn connecting two larger
Johnstod. Oll on canvas, 35" x 29" . O Col ection bodies of land. Reread
On the night Of Apfil 18, 1775, fUmOfS ortheEJanston Historicar societv, Evanston, the sentence that
rrrinois ' begins in line r9. Was
of a planned British action to seize there any way to leave
Boston without passing
ammunition in the town of Concord raced through Boston. Word through the isthmus?

reached William Dawes, a tanner, who told Paril Revere-who had B TAr(E NOTE5
At this point in the
heard about it from two others already. The two men received orders article, who are the
main participants in
from Dr. Joseph Warren to ride to inform the leaders of the Provincial the events described?
Make sure to note their
Congress of the developments. names.

l!:,ll!::t i t t: : :. ia !) t:, tll 1:',i l,,i l,l r {i ll
Dawes's route led him to the British guards at the gate of Boston
Neck-the narrowest part of the isthmus-as he rode south out of the

zo city. A naturally witty and friendly man, Dawes dad spent numerous

afternoons sneaking in and out of the city withdut being stopped. He
would disgulse himself as a peddler, smuggling gold coins disguised
as buttons that he wore sewn on his coat. Dawgs also befriended any
British guards who seemed amicable. On the historic night, one of his
buddies was on duty. When the guard opened the gate for some British

[fsoldiers, Dawes slipped through with them.

On his ride west, Dawes alerted more riders, who in turn rallied
companies from neighboring towns: Dedham, Needham, Framingham,
Newton and Watertown. Avoiding trouble, Dawes made good time and
30 caught up to Revere in Lexington just after miQnight. After notifying

Hancock and Adams, Dawes and Revere set out for Concord together,

HE
READING FOR iNFORMATION 145

ffi,i.u',,fi**;r , i>.!,14i

.,,,,r

--,
i!,',r ''. I - i.., :. l:.1

joined by Dr. Samuel Plescott,
a Concord resident whd had
been visiting a Sirlfriend.

o HISTORY ARTICLE i& {l !t.,irl,r *.:,{: ":;.::,i
History articles often
contain maps, timelines, Revere, riding in front, /an into
and other graphic aids
to help you track the a British roadblock. Dav[es and
details presented in the
text. As you read this Prescott were captured before
a rticle, fol low Revere's,
Dawes's, and Prescott's they could be warned. ,As the
progress on this map.
British tried to lead them into a
g TAKE NOTES
40 meadow, Prescott signqled that
What surprising fact
do you learn from this they should make their escape,
section? Be sure to add
this to your notes. and all three rode off. Sack on This map of eastern Massachusetts shows
the road towards Lexington. the route ofeach rider. @
o HlsToRY ARTTCLE Dawes realized that hid horse

This history article was too tired to outrun the Redcoats. As he pulled up in the yard of a
primarily tells about the house, he reared his h0rse and shouted, "l've got two of them-surround
true story of the people
and events ofApril t8, them!" His trick succeeded in scaring off his pursuers, although he fell
1775. What does the
add itiona I i nformation from his horse and lost his watch.
in this last section help
you understand? r;*tt$ r*:+ \',fi *ri"zii Ii,l:EI:"1 t-:.i l

Prescott, the local, rodb off toward Concord through fields and creek beds

:o that he knew, quickly dutdistancing his would-be captors. lt was Prescott

who warned the town of Concord of the impending British march. @

$1.r i:ri*:"{:1i.*:: r i:"' g tt'i.l1i1it

Over the years, Dawed's relative anonymity has become something
of a joke. ln 1896, Hdlen F. Moore published a parody of Longfellow's
famous poem about the historic night, entitled "The Midnight Ride

of William Dawes," one verse of which reads:

'Tis all very well fol tne children to hear

Of the midnight ridb of Paul Revere;
But why should my name be quite forgot,

Who rode as boldly and well, God wot?

60 Why should I ask? The reason is clear-

My name was Davyes and his Revere.

A cartoon in the early 1960s turned on the same humor, namely that
"Dawes" was a namq less suited for rhymingthan "Revere" (in that
comic strip, Longfellopv is stuck on "Listen my children while I pause,

to tell the ride of William Dawes" when his wife suggests using the

name of that other rider). @

,a.

146 uNrr r: PLor AND coNFlrcr

After Reoding

Comprehension i COMMONCORE

1. Recall Who was sent to warn John Hancock an SamuelAdams about Rl 1 Citethe evidencethat
a British military operation? supports a n ana lysis of what the

2. Clarify What kind of person was William Da ) text says explicitly. Rl 9 Analyze
3. Clarify What "near miss" did the riders encou r as they rode to Concord?
a case in which two or more texts
provide conflicting information on
the same topic and identify where
the texts disagree. W 2 Write
explanatory texts.

Text Analysis

I +. UseYourNotes Useyour notestocreate a tim ine of the historic events that

occurred on the night of April'r8,t775.

O S. Understand a History Article Now that you've this history article, what

do you think are the main points the author nts to make about the events

of April18,t775?

Read for lnformation: Compare a d Contrast

1,VRl?1rufr FilOFIPT match up with the
compare and
How does the information in "The Other of that night
storytold in "Paul Revere's Ride"? ln a paragr
contrast the legend in the poem with the true
as it is presented in the historical article.

Remember that when you compare and you identify the ways in

which two or more things are alike and different Then follow these steps:

l. If you haven't already done so, fill in your art with the main participants

and events discussed in the poem and the

2. Note the similarities and difFerences bet n the two accounts in the last
column of the chart. For example,your pa phrases might reveal that both
texts follow the same logical order.

3. ln a sentence, make a general statement the similarities and
differences in the accounts. Support your with evidence from
the texts.

, from"Paul *rom I Other Smilarrties and

Reverds Rrae' Riders' Di{ferences

tfuinParticipafts

tfujnEverts .

READING FOR INFORMATION 147

Personal Narratir.

Like the characters in this unit, ydu have played a part in many memorable events.
Now you have a chance to write dbout experiences that are important to you. ln
this workshop,you will learn hovrJ to write a personal narrative that engages readers
through the use of vivid details.

.ffi Complete the workshop ,ctilrities in your Reader/Writer Notebook,

?/,/RIT'NG rASK ts for a DEVELOPMENT OF IDEAS
Write a personal narrative in which you attempt to
specific audience by telling about a meaningful provides an engaging
your own life. introduction
uses techniques such as
ldea Starters dialogue, description, a nd
reflection to develop the events
. a childhood adventure provides a conclusion that
. going to a family reunion reflects on events
. your first day in a new place
. winning or losing a big game 2. ORGANIZA|'ON OF IDEA'

fHE E''ETtTfIAL' uses appropriate transitions to

Here are some common purposes, audiences, and convey sequence
personal narrative. uses effective pacing to develop
the narrative
to entertain classmates essay class
the people and teacher ,. LANGUAGE FACILI|Y
parents speech
who read it club members blog e AND CONVENTIONS
friends
to share Web users journal ntry establishes and maintains a
reflections on point of view
a meaningful school includes precise language,
event column relevant descriptive details, and
sensory language
l punctuates verbs in a series and
corrects run-on sentences
docume[tary employs correct Brammar, usage,
poacastl and spelling

ffirHl!X.[,

Go to thinkcentral,com.

KEYWORD: HMLSN-148

la!

148 UNIT 1: PLOT AND CONFI,ICT

Plannin glPrewriting COMMON W 3a-e Write narratives to develop real or imagined
CORE experiences or events using effective technique, relevant

descriptive details, and well-structured event sequences.

W5 Develop and strengthen writing as needed by planning.

cHooSE A foPrc . What specific, relevant details do I remember

Use the ldea Starters on page r48 to help you about the experience?
recall some memorable experiences that you
enjoy telling people about. Focus on experiences . What does the experience reveal about me or
that have remained important to you over time.
Choose the one that you think would be most someone else?
interesting for you to write about and for your
audience to read about. . Why might reading about this experience be

engaging or important to other people?

. Am I comfortable sharing my thoughts about the

experience with readers?

fHINK ABOUT AUD'ENCE AND PURPOSE . Who will read my narrative? What information

Before you begin your draft, think about your willthey need to understand my story?
audience and your purpose for writing. This
will help you choose relevant descriptive details, . Why am I writing about this experience? Do I
determine what background information is
necessary to orient readers, and decide what want to make my audience laugh-or cry? Do I
ideas to emphasize. want them to understand something about me

or the world we live in?

GATHER DEIAILS > WHAT DOES IT LOOK tIKE?

As you decide what experience you will write Whd u,4self, ruiltler who beat ue t'n first
about, gather relevant descriptive details you
to include-sights, sou nds, smells, sensations. racet coath
Think like a newspaper reporter and remember
the questions reporters use to make sure they've 'WnaX , pushed ar1se/f to succeed ln running;
covered the important facts in a story:Who? : : nearltl won first race; uade varsfttl
What? When? Where? Why? How? Forexam ', ,tean
Whea? eryfth qrade
, Who was involved in the experience, and
',,Wherd ', eross-couutrq coursej school cafeterta
what did he or she say?
', (awards cereaoaq)
. What happened, and in what order did
whq? ) was uotrvated to become the onlq
events occur? uiddle-school studeft on the varsft'.1
How?
. When did I have this experience? tearr.
. Where did the events happen?
. Why did the events happen? What set them , i riil-lirr'il'ii i,t*ti tirnt';;;z;;

in motion? ;. to see that trtlrng onds best is

. How did I feel about the events at the time, i eveil More t'uportant than actua/lt1
'; reatht'ilg a goal,
and how do I feel now? How do I want my
readers to feel about my experience?

.W'RITING WORKSHOP 149

Pl a n n i n g/Prewriti n g conti nued

WR'rE A STArEMENT OF MEANTNG DOE' IT LOOK tIKE?

ln a personal narrative,you reflect on decisions This was signi{tcant to ue because ) learned
you've made or actions you've taken as well
as the consequences ofthose decisions and that he uost rnportant thinq is to do r1our best,
actions. You want your audience to understand
why the experience you're describing was DOES IT IOOK IIKE?
significant in your life. Consider what
the experience means to you and write a t,) thls would be the qear )'d achleve success
briel direct statement of its meaning. This
statement will help you focus your narrative. as ru4iler

PLAN YOUR NARRATIVE Z,) 'a.ined ha.rd for the flrst rate; so that ) woula
the varsttl teaa,
When planning your narrative, remember
to organize an event sequence that unfolds ?. )n race, ) ran as fast as ) could, and onh1 one
r kept up,
naturally and logically. The clearest way to
4,7 other runner at first fell behnd but caught up
structure your narrative is in chronological
h ne at the end
order-the order in which events occurred. a. long season, ) woh a varsittl letter afu uet
Also remember to think about effective pacing,
or the smooth flow of events from one to goa.l.

the next.Avoid focusing on unnecessary and
irrelevant details.

Briefly describe to a peer the experience plan to write about, and explain to him or her
what makes it meaningful to you. Then a : What kinds of details could I include to help
my audience understand the importance the experience? What background information

could I include to help orient my audience

YOUR ln your Reader/Writer Notebook, record possibl experiences to write about and
choose one. Use a chart like the one on page to help you record details about the
@ experience. Next, write a statement about wh the experience means and Plan the
events you want to include in your narrative. en review your plan, asking yourself
TURN which details you should emphasize and what could add or remove to make Your

narrative more effective. Remember to keep in nd your purpose and audience.

I50 uNIr r: PLOT AND CONFLICT

Drafting W 4 Produce clear and coherent writing in which
COMMON the development, organization, and style are

. CORE appropriate to task, purpose, and audience.
L2a Use punctuation to indicate a pauseor break.

The following chart shows how to organize a draft of an eftective personat narrative.

,Nf RODUCf ION

. Begin with an engaging first sentence using your iratural voice-the words and phrases you

would use when telling the story to your friends.

Use the f irst-person point of view; refer to you rstlf with the prono uns l, me, and my,

Establish context by including details about wher! and where the experience took place.

V

BODY I words, phrases, and clauses such asfirst,

. Develop a logical event sequence, using action.
, as the events unfold.
next, and then to guide readers. hly in your narrative.
Use sensory language to help readers experi
lnclude your reflections, or your thoughts and
Use effective pacing to keep events moving

Y

CONCLUOING SECT'ON is meaningful to you.
might apply to readers' lives.
. Provide a conclusion that reveals why the ex
. Reflect on your experience and how what you I

Use action verbs throughout your personal narrati to make events come alive for your readers.
Follow these rules for punctuating a series of ver

*arfe

Separate more than
two verbs in a series
with commas.

Commas are not fua" evert1 da4.
needed if all the verbs in ]
a series are joined by
and, or, or nor. ) dldtl't know vlhether to laryh or datce or shout

YOUR Write a drafl of your personal narrative blsed on the structure outlined above.
As you write, make sure you correctly pu4ctuate verbs in a series.
@
W-RITING ''ir'ORKSHOP
TUNN

t5t

Revising more engaging and

When you revise, your goal is to make your Personal narrat willhelpyou
meaningful. The questions, tips, and strategies in the chart
revise, rework, and improve your draft.

l. Does my introduction engage Highlight interesting statement. Add details about where
statements. Circle and when the event took place.
readers and help set the that show the setting.
Rearrange events, as necessary.
scene? the margin, note whic
senses they appeal to. Add transitions to link events.
2. Are events in chronologica!
order? Bracket passages th Elaborate with additiona I descriptions
might be unclear to and sensory details, if necessary. Delete
3. Are the details describing someone who knows ttle irrelevant details.
people, places, and events about your topic.
relevant and precise? Elaborate on ideas that might be
Box sentences that sl confusing or unfamiliar to some people
4. Does my narrative provide the pace ofthe narr in your audience. Add background
enough background information as needed.
information to orient readers? Put a check mark
Delete unnecessary details to improve
5. Does the pacing keep events to statements of the pace ofyour narrative.
moving smoothly?
feelings and Add specific details about feelings and
6. Have I included my reflections thoughts as needed.
about events in my narative? Underline your
about why the ex Add a statement that explains why the
7. Does my conclusion reveal is meaningful. experience is important to you.
why the experience is
meaningful?

YOUR Og,ttngf Review your draft with a peer. each question on the chart above
personal narratives, and whether
@ to see howyou could both improve or rework ke notes about what your partner
you should consider a new approach. Be sure to
TUR!I
suggests.

152 UNIT I: PLOT AND CONFLICT

ANALYZE A STUDENT DRAFT j COMMON W 3d Use relevant descriptive details
i CORE and sensory language. W5 Develop and
Read this student's draft and the comments on it as strengthen writing as needed by revising,
model for revising your own personal narrative.
editing, rewriting, or trying a new approach,
focusing on how well purpose and

audience have been addressed.

Today Is the Day

byAlex Bloom, Gray Middle School

_l

o the"This is going to be the year for me," I th rt. To achieve

standards I set for myself, I worked out every : minute. As the season AIex establishes his

theprogressed, I focused even more on my running, :curing a position on I first-person point of
view right away and
-school's track team. But I wanted more. Determi ed to be the only varsiry I I maintains it throughout
mile.cross-country runner from middle school, I pu l myself the extra
the narrative.
I made running part of my daily routine. I Iate, and slept running.
Precise details help
was determined to be prepared to win the first : of the year. I capture the action and
forward movement of
---] the race. However, Alex
O Bang!The race began. "I can do this," I rght. I quickly passed most-l could add descriptive
pack.of the racers from the other teams, putting m .f in the front of the details and sensory
I ianguage to help
readers really picture
My hair blew from side to side in the wind, and my uniform was no longer I the race.

oneneat. I sped past the rest ofthe racers, leaving :m behind. Only L-

runner stayed with me throughout the race. \7e Flew around every turn with
I t-speed and precision, competing, challenging r other. He fell back as
I

powered up the hill, I moved ahead, gaining di ance. I turned into the finat__]

corner.

IlEtrEEen Add Deseriptive Details and Sensary ntuage Alex might add
race even more vivid to the
descriptive details and sensory language to make t
ge them in his narrative
reader. By helping readers picture the race, he will inserted some details,

and make it more entertaining for them to read. A

shown in blue.

ATEX,S REVISION TO PARAGNAPH O

Bang!The race began. "I can do this," I t. I quickly passed most

of the racers from the other teams, putting f in the front of the pack.

lonq biaft red drenched lt sweat

Mf^hiir blew from side to side in the wind, mf4 n i fo rm was4olengeLL

s€e#?I sped past the rest of the racers, leaving hem behind. Only one

, a qanqlq {reshwran,

runnelstayed with me throughout the race.
AJ

.WRITING \fORKSHOP 153

ANATYZE A STUDENT DRAFT continued

e i stepped carefully on the uneven surface, hoping After writing the climax

"I want to win this race," I thought. I used every bit of

exhausted body, but the other runner suddenly appeared of the narrative,Alex
guess you could call it a photo finish because we crossed
and neck, but he won by inches. Then it hit me. It didn reflects on what it

means.

not because I tried my hardest. This paragraph needs

(} The season ended. An awards ceremony was held in some transiti*ns to
connect the ideas.
cafeteria. The coach called everybody's name, and then

mine. "This is the moment," I thought. "This is the m

received a varsity letter, reaching the goal I had set. I was named the The final sentence ofthe

thought,-lOutstanding Middle School Runner of the Year. Proud myself i narrative helps reveal

"I did my best this year, and next year I'll do even better. __l the significance of Alex's
expenence.

€rffi#gItr Add Transitions ln the final paragraph of his d , Alex jumps from

the end of the season to an awards ceremony. Readers may confused by these
abrupt changes in time and place. Did the season end imm ately after Alex's big
race? After the race, did the team go directly to the school ca riafor the awards

ceremony?

Alex can fix this problem by adding transitional words, rases, or clauses that
signal shifts from one time frame or setting to another. ln a rrative, tra nsitions
that indicate time order are especially helpful. Examples incl e before, after,
then, loter, the following week, and eventually. Alex added tra itions in his last
paragraph to make the passage of time clear.

ALEX'5 REv!sIoN To PARAGRAPH O later that uonth Soon
A{ter mant,t tl4ore races )was exuted when ) went the school cafeteria^

fte season ended. #.,t-6wards ceremony led mine.

The coach called everybody's name, and then he finally

YOUR Use the revision strategies chart, feedback from peers and teacher,
and the two "Learn How" lessons to revise your na tive or try a new
@ approach. Evaluate how wellyou have achieved characteristics of a
good personal narrative and fulfilled your purpose
TURN

154 UNIT 1: PLOT AND CONFLICT

Editing and Publishing I ij coMMoN W 3c Use transition words, phrases,
l9*'
ln the editing stage, you review your writing to look]for errors in and clauses to convey sequence.
W 5 Strengthen writing by revising, editing,
rewriting, or trying a new approach.

lL Demonstrate command of standard

English grammar and usage when writing.

grammar, usage, spelling, and punctuation. Such mfstakes can distract your

a udience from focusin g on what's im porta nt-you rJ persona I na rrative.

As you review your writing, pay attention to places one thought runs
into another. You may need to fix a run-on which is actuallytwo or
more sentences written as if they were one. There
run-on sentence. several ways to correct a

Rutoa stteau' ) lke to run )joued the track

fuMake two sentences. I like to run, ) +ra&
lhe lean,
Use a semicolon. # ) liketo run J the track tean

Add a conjunction. S" ) /lke to run, so I the track teau.

ln the second ?aragraph of his draft, Alex's w was not clear because he

had a run-on sentence. Alex decided to break it two sentences.

He fel/ bark as ) powered up the nffi"l uwed a al, gainlng dlstance. i:.

[Alex had used a comma to run together two complete ntences. By l
changing the comma to a period, he fixed the run-on.l i

PUBTISH YOUR WRITING

Share your personal narrative with an audience

. Give a copy of your narrative to friends, familj members, and classmates. lf you

wish, add photographs or illustrations to youf narrative.
. group.Present your narrative orally to a
j
. Submit your narrative to an online literary m{Bazine.
. Post your narrative on your personal Web pa$e.

I

YggR Correct any errors in your narrative. As you proofread, look carefully for

@ run-on sentences and fix the punctuatign. Also, correct any errors in

TURII punctuating a series of verbs. Then puf lish your final narrative for others

to enjoy.

wRrrrNG woRKSHoP 155

Scoring Rubric

Use the rubric below to evaluate your personal narrative from the Writing Workshop
or your response to the on-demand writing task on the next page.

Development Has an engaging i roduction that orients readers; develops

events with strong dialogue and ; provides a strong conclusion

Organization Establishes a and logical sequence ofevents; uses

effective pacing and transitions convey sequence

Language Maintains a clear poi of view; uses relevant descriptive details and

vivid sensory language; shows a mand of conventions

Development Has an effective inlroduction;develops events with dialogue
and description; provides a conclu[ion that sums up the narrative
Organization Has a logical sequence of events; uses mostly effective pacing
and some transitions to signal shifis in time
language Maintains a point of vipw;includes relevant descriptive details and

some sensory language; has a fevrl errors in conventions

Development Has an introductioh, but doesn't provide context; could

conclusionuse more dialogue or description fo develop events; provides an adequate
l

a Organization Has a logical sequence of events but needs more transitions

a Language Mostly maintains a pof nt of view; needs more descriptive details

and sensory language; includes a few distracting errors in conventions

Development Has an introduction, but needs more development; needs more
dialogue and description; lacks, {trong conclusion
Organization Has a confusing sequence due to unnecessary events; has a slow
pace at times; needs more transitions to convey sequence
Language Has some lapses in point of view; lacks effective descriptive details
and sensory language; has some lnajor errors in conventions

l

a Development Lacks an effective introduction and fails to develop events
a Organization lncludes distracting events; has choppy pacing
a language Lacks a clear point of r,{iew; mostly lacks details and sensory

language; has many errors in con[entions

i

Development Has no introduction; lacks descriptive details; ends abruptly
Organization Has no transitions and an unclear sequence of events

Language Has no clear point of liew no effective details or sensory language;

has major errors in conventions

155 UNIT 1: PLOT AND CONFi,ICT

W 10 Write routihely

Preparing for Tim d Writing ;i. COmffOX overshortertimeframes
for a range of tasks,
CORE

purposes, and audiences.

Read the task carefully. Then read it again, unde or circling the words

that tell the type of writing, the topic, the purpose, nd the audience.

wRlrlItlG TASK {TVpu ofWrftug t;-Purpose Audience
that will gglgltalnJog
'Write a personal ndrrative relating a
ils and sensory language to describe
significant personal experience. Use descriptive is still meaningful to you.

First, think of some personal experiences
that you feel comfortable writing
about. Choose the most meaningful of
those experiences as the topic ofyour
narrative. Then use a graphic organizer
to help you take notes.

Using your notes, begin draftinB your narrative. ow these guidelines:
with an interesting opener, and
. ln the introduction, grab the reader's attentio
in a clear order, usually
set the scene with sensory details.
is meaningful to you.
. ln the body, relate the events of your experie t of view.

chronological.

. ln the conclusion, reflect on why the
. Remember to use a consistent first-person

Revising Go backto the key aspects ofthe task Have you used descriptive details

and sensory language? Haveyou used transiti to guide the reader? Do you use

effective pacing to keep events moving s

Proofreading Check your narrative to correct in grammar, spelling, punctuation,

and capitalization. Make sure that your paper any edits are legible.

Checking Your Final Copy Before you turn in narrative, look at it once more to

catch any errors you may have missed.

\itrRITING 'WORKSHOP 157

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fltli'ilriit''., 11L.'.1,l, ,,,li i'r,.r.,,,,,iil,r1,

141 '.l,1i'i1rliii1r,,r,1sl"111,n,i,tr,i;li1,1i1,1;i,r1li:,;irirli:i:,1l;,;,, 1

Presentin g an Oral Narrative

You tell stories all the time-whep you tell friends about what you did over the
weekend or share something funrfy that happened at home. ln this workshop, you
will turn a true story, or a personaf narrative, into an oral presentation.

Complete the workshoR ,.tiufties in your Reader/Writer Notebook.

rASK A STRONG ORAL NARRAr'VE . ..
. focuses on a single meaningful experience
Adapt your written narrative into an . contains well-chosen details that allow listeners to
oral narrative. Afteryou have practiced
delivering your narrative, present it to visualize the people, settings, and events
your class.
. has a clear sequence of events that allows listeners

to easily follow the story

. holds listeners'attention through effective verbal

and nonverbal techniques

I COMMONCORE Adapt Your Personal Narrative

SL 4 Present claims and findings Since your audience is listenin! to your narrative, not reading it, they have only

in a focused, coherent manner; use one chance to understand it. tJse these tips to help you develop an engaging,
appropriate eye contact, adequate
volume, and clear pronunciation. coherent, or easy-to-follow, ordl presentation your listeners will enjoy.

SL 6 Adapt speech, demonstrating . Background lnformation tnllude extra information your listeners might need

command of formal English when to understand your narrativd.
a ppropriate.
. Realistic Dialogue Try to re-Lreate the actual words of the people involved.
. Specific Action Describe evdnts directly and clearly. Stick to the most salient, or

important, events.

. Word Choice Use precise la/rguage to describe people, settings, and things. Use

correct formal English, as appropriate, to help you deliver your message clearly.
Choose words that will be fdmiliar to your audience.

a Sensory Details Select words that appealto one or more of the five senses.

Organization Organize youl story in chronological order. Use transitional
words, phrases, and clauses to help listeners follow your story.

Conclusion Sum up your personal narrative by sharing with listeners why your
experience was memorablel fun, scary, or eye-opening.

Make Notes Make your notes brief and easy to read. This way you'll be able
to glance at them and hold your focus without losing eye contact with your
audience as you speak.

158 UNIT I: PLOT AND CONFLICT

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.l: :: i;i \ : | | ._-.t,r.i:rir lr,,l,r,r,f:,,,, ri i,i
rr,.r,lir,ii:.,t, 1-,i,i,l iir,,r,1,,i::1,,i,, 1,
,, rJ:ii::ill' I !rr;rr,ji,,,ri,!,irjri, il
:,, i ;'i,rii I li : i,t, r -.,r,,|iil,,rlrrli,, ilt r,,

Deliver Your Personal Narrative

ENGAGE YOUR AUDIENCE
Acting out information, rather than depending solely on your words, is an
effective-and often more interesting-way to communicate ideas. Verbal
techniques, the manner in which you use your voice, and nonverbal techniques,
the manner in which you use your body, can help you get your message across.
For example, instead of telling your audience that a character is angry, you can
show them by using facial expressions (such as scowling or glaring), raising the
pitch of your voice to a shrill level, or changing the tone of your voice to sound
irritated.

Before you deliver your personal narrative, practice your delivery techniques.
Look at the chart below for tips.

VERBAL TECHNIQUES NONVERBAL TECHNIQUES

Volume No matter how loudly Facial Expressions Smiling or frowning,
or softly you spea k, be sure you r looking puzzled or surprised can help
audience can understand you. you convey your meaning.

Rate Speak fast enough not to Gestures Pointing, reaching, or banging
bore your listeners and slowly can add emphasis to what you say, but
enough that they can follow your be careful not to gesture needlessly.
presentation.
Posture Whetheryou stand straight
Pitch Qualities of pitch, or or slouch can influence the way your
modulation-such as high, low, audience reacts to what you say.
shrill, musical, or rumbling-can
help clarify your meaning. Appearance You may want to dress
more formally for a serious presentation
Tone Your attitude toward what or wear casual clothes for a
you are saying, such as amused, humorous one.
angry,or serlous, should be clear
from the tone ofyour voice.

Y6U il As a Speaker Practice your presentation in front of a mirror,
using the verbal and nonverbal techniques described above.
LI{i:J-:.,

TURi{ Then deliver your speech to a friend. Consider your friend's

feedback as you practice and improve your presentation.

As a Listener Evaluate your friend's delivery of his or her personal
narrative. Listen carefully to make sure you can follow the story, and
identify any places that seem unclear. Note whether your friend's
volume, pace, and gestures are effective for his or her audience and

p u rPose.

Assessment P ctice

DIRECTIONS Read the and answer the questions that follow.

A55E5S The Invade S by Jach Ritchie

Taking this practice test None of them left the shi on the first day of its arrival, but I knew that
will help you assess
your knowledge of the they would be watching y for signs of human life.
following skills and ing clouds, and the cold wind moved high
l2 The skies were dark with
determi ne you r readiness slowly to the ground.
l in the trees. Thin snow dri
for the Unit Test. , I now watched as a small, heavily armed group
a
R EVIEW n they reached the edge of the woods, they
l
After you take the practice
test, your teacher can help I From the cover ofthe
you identify any standards l of them left the large craft.
you need to review.
l hesitated for a few moments and then moved cautiously forward.
i CO ,tfnON COnr
lt I had seen them before I knew that in appearance, at least, they were
RL 3 Analyze how
dialogue or incidents I l
in a story propel the
action. RL4 Analyzethe : not monsters. They looked ry much like us. There were some differences,
impact of word choices
ontone. RL5 Analyze |. of course, but all in all, we really quite similar to them.
how the structure of text
contributes to its meaning. :

RL 5 Analyze how t5 I met them first when I almost a boy and I had been without caution,
differences in the points of
l I approached them and t seemed friendly, but then suddenly they seized
view ofthe characters and :
reader create such effects
as suspense. W 1O Write l me and carried me off in th ir strange ship.
over shorter time frames. ,6 It was a long journey to t eir land and when our ship made a landing,

Ll Demonstrate command I was shown about and exh ited as though I were some kind of animal.

of grammar and usage. )

L 3 Use knowledge of 1')7 I saw their cities, and I w shown plants and animals completely strange
language when writing.
L 4a-c Use context as a to me. I learned to wear t r clothing and even to eat their food.
clue to the meaning of
i8 They taught me to co unicate in their srange and difficult tongue until I
a word; use Latin affixes could, at times, even think their language.
and roots as clues to the
meaning of a word; consult Ig I had almost given up th hope of ever seeing my home again, but they one
reference materials. day put me back on one of heir ships and told me that they were returning me

because they wished to ish friendly relations with my people. But by now,

I knew enough ofthem to that this was not true. However, I nodded

and smiled and watched fo my oPPortunlty to escape.

t10 \7hen the ship landed, I nt out with the first search parry. It was near

i evening and as the da gathered, I edged away from them and finally

r

I fled into the blackness safery of the forest.

i 11 They came after me, of urse, but I was hidden deep in the woods where
they could not find me.

;12 Finally they gave up and]I watched their ship become smaller and finally

] disappear, and I hoped dy that they would never return.

113 But now they were backlagain.
)14 I felt a coldness inside of me as I watched them moving slowly through

IINK the trees. They seemed different from the others who had been here

central l before. It was not so much in their appearance as in the air about them-the
i

l

Take it at thinkcentral.com. way they walked, the way hey looked about with speculating eyes.

I

KEYWORD: HML8NJ50 I

r\- i..,,,.,,.,,,..

150 uNrr l: PLor AND coNFlrcr

t5 Slowly and instinctively' I realized that this ti they were not here on .iust *---1,

another raid for a caPtive or two' r into the forest and kill i.l
to use them? !l
L6 This time theY had come to stay'
,; \X4rat could we do now? Could we lure them more of the invaders on Ii:,
and hunt us down like
,h.-iCo.rld we take their weapons and learn ,i

wanted this time and I

to hope for the best' 'i;
ril
to r".plpoiook"i"tthg. I watched them iu
for footPrints'
|,
snow on the ground to lr

'ilv. Thev were cautious, Yes' al
with my own eyes how theY
I
is respect we could not
ii
ing beneath their helmets'
ltl
2;-.;.8"-ot{oT"\\.(hA"/e.ryi,l;c;tos;hmtea"rte,.",dt"hiaIsItsssmaaaiveidda,'"gaaegnacdiannt'hseBpnuetaoIknewsooomnf detheEeremndgtlriu ed to their bearded leader' "It
it:,
, Captain Standish'"
at they would do to mY land I

and my peoPle now i

.. .'.'..'".',,-'l.,li]l!'1ll]:1,]l'].]]l],:].' *i I,i

ASSESSMENT PRACTICE 161

Reading Comprehension

Use "The Invaders" to answer questions 5. The conflict not resolved at the end of the

r-14. -story is

1. \What event happens first in the story? A. what will happen between the invaders

A. The invaders look at the ground for and the narratort people

footprints. B. how the narrator will d&idE*o ..

B. The invaders leave the ship and enter the communicate wirh the invaders

woods. C. whether the invaders can make their way

C. The narrator thinks about attacking the off the ship and into the forest

invaders. D. if the narrator will choose to stay hidden

D. The narrator steps into view and greets from the invaders

the invaders. 6. The rising action begins when the narrator

2. In the exposition of the story, you learn says

-that A. -Thqt hokedaery much like us (paragraph4)

A. the narrator speaks English B. I barrued t0 wedr their clothing and euen
B. the invaders are cruel people
C. Captain Standish is a leader to eat theirfood (paragraphT)
D. the weather is cold and snowy
C, But now they were back again
3. In paragraph 1 the author develops suspense
(paragraph 13)
-by using rhe phrase
D, Yet we could be cruel, too (paragraph 23)
lt- first day of its aniual
7. In paragraph 1B the narrator is losing hope
B. I kruew that they uould be watching
C, None of them lefi the ship -because
D. signs of buman life
A. he fears his people are outnumbered and
4. The conflict the narrator struggles with is
will be killed
A. choosing whether to return with the
B. his hiding places in the snowy forest are
invaders to their country
too visible
B. deciding which response to the invaders
C. he thinks that the invaders are looking
will be best for his people
for another captive
C. sharing food with the invaders or hidi
D. his footprints might lead the invaders
it from them
to his people
D. betraying his people by helping the
-8. The flashback begins when the narrator says
invaders find what they want
A. I met tbemfirst when I was almost a boy and

I had been without cautizn (paragraph 5)

B. But by now, I knew enough ofthem to know

that tbis ruAs nzt true (paragraph9)

C. There were s0 mdn! mzre of the inuaders

on. the ship (paragraph 18)

D. But I still retreated silently before them,

afiaid to approach them (paragraph20)

162

9. The flashback reveals that the narrator The narrator rejects the idea of attacking the
invaders because
-A. carefully watched the invaders when they
A -the strangers have enough people and
left their ship
weapons to harm the local people
B. was captured as a child by invaders and
B. the strangers are peaceful and hope to do
taken to their land
good deeds
C. grew to believe that invaders had friendly
C. neither the strangers nor the local people
intentions
want to have a fight
D. had many habits in common with the
D. the narrator can speak the strangers'
invaders
language
10. The climax of the storv occurs when the
During the falling action, you discover that
-narrator
-the invader"
A. steps out and speaks to the invaders
B. hides from the invaders in the woods A. arrive on a large ship
C. returns home after being held captive B. have strangely colored eyes
D. hears the invaders talk to their leader C. are led by an English captain
D. mistreat their animals and each other
11. The narrator hides from the new invaders
HORT CONTRUCTED RESPONSE
_because
ite two or three sentences to answer each
A. he distrusts the invaders and is trying to
5. Identify one technique the author uses to
decide what to do create suspense. Give an example from the
text to support your choice.
B. other people are coming to help him
C. he wants to surprise the invaders from a 6. In the flashback, what steps does the narrator
take to escape the invaders?
well-protected location
a pafagraph to answer this question.
D. a search parry is looking for him
17. Reread paragraphs 15-19. \7hat does the
12. \X,/hich phrase from the story helps you figure narrator realize about the invaders? Explain
out when an event occurs? how this realization helps him to resolve
his conflict.
A, Tbere were some dffirences . . .

B. It was a long journey . . .
C, I could at times , , ,

D. They paused now . . .

.i rer

Vocabulary 5. Read the dictionary entry below for the

Use your knowledge of context clues and the word crafi,
Latin word root definitions to .rnswer the
following questions. craft (kr5f! noun l. A boat, ship, or aircraft.

The Latin word habere means "to hold" or 2. Skill in doing or making something. 3. An
"to see." In paragraph 5, what does the word occupation or trade. Wrb L. To make by
exhibited mean? hand. Synonyms. noun: vehicle, talent,
profession, trickery; uerb: create.
A. Made to work hard
B. Presented in public Which definition represents the meaning of
C. Held captive in a prison the word crafi as it is used in paragraph 3?
D. Soothed with kind words
A. Definition noun 1
2. The Latin word stabilis means "firm." B. Definition noun 2
In paragraph 9, what does the word C. Definition noun 3
D. Definition verb 1
establish mean?
6. In which sentence is the word crafi used
A- To end quickly
B. To damage beyond repair as a verb?
C. To bring about using trickery
D. To set up and make solid A. She learned her craft from her father,

3. The Latin wordferuere means "to boil." who was a carpenter.
In paragraph 12, what does the word
B. The fine workmanship revealed the
feruently mean?
sculptor's craft.
A. In a dreamy way
B. For a long time C. He tried to craft a set of bookshelves
C. \7ith great emotion
D. Vhile cooking for the library.

4. The Latin word speculare means "to obserye. D. The small craft was tossed about by the
In paragraph 74,what does the word
rough waves.
speculating mean?
7. \Mhich synonym would best replace the word
A. Creating a new object craftin the following sentence?
B. Thinking about or guessing
C. Taking a risk in the hope of gain The singer demonstrated her craft through
D. Accepting something as true her performance in the opera.

A. Profession
B. Talent
C. Thickery
D. Vehicle

164

Revising and Editing that follow.

DIRECTIONS Read this paragraph and answer the

(1) \Xrhen the Pilgrims first landed at Plymouth in 16 , everyone had their dream

of a better life. (2) They had been agreeing that they d work together to build a

common house for meetings and religious services. (3 People's lives became difficult

though, especially because there was a shortage of . (4) Nobody knew whether

they would survive. (5) In fact, many seftlers died du ing his first winter in the

colony. (6) The Native American Squanto helped eve rone who remained find where

they could fish and trap animals for food. (7) The ive Americans' willingness to

share their knowledge of agriculture helped the Pilgri survive in the new land.

(8) Today the national holiday of Thanksgiving the Pilgrims' celebration of

their first harvest in Plymouth.

The meaning of sentence 1 can be improved The meaning of sentence 4 canbe improved

bychanging theirrc- -by changing they rc
,d theirs
A. he or she
B. its B. them
C. his or her C. his or her
D. they D. its

2. \What change, if any, should be made in 5. The meaning of sentence 5 can be improved

sentence 2? -by changing his rc

A. Change bad been agreeing to will agree A. their
B. Change had bem agreeing to agreed B. its
C. Change bad been agreeingrc agrees
D. Make no change C. his or her
D. her
3. tVhat change, if any, should be made in
6. The meaning of sentence 6 can be improved
sentence 3?
by changing they rc -
A. Change becarneto will become
B. Change became to are becoming A. it
C. Change becarne to will be becoming
D. Make no change B. its

C. their

D. he or she

165

ldeas for lndepe[rdent Reading

Which questions from Un jt t made an impression on you?
Continue exploring them larith these books.

What's worth the effort?

i COTVIMONCORE The Circuit: Stories from Dancing at the Lord ofthe Deep
the Life of a Migrant Odinochka
RLlO Read and comprehend chitd by Kirkpatrick Hill by Graham Salisbury
literature.
by Francisco limdnez Erlnla and her family live This summer, r3-year-old
on a smalltrading post in Mikey is the youngest
ln the r94os, Francisco and his Russian America. Life is hard deckhand in the marina. He
family crossed the Mexican but Erinia is happy. When soon realizes that working
border. Together they worked America buys the territory, on his stepdad's boat is
picking crops,n Caliiornia, iife changes. Wilithe
struggling to make a life and Pavaloffs be able to survive? complicated. When two
a permanent home in a new customers ask for "special"
treatment, Mikey has to
co u nt ry. decide where his loyalty lies

ls seeing believing?

rk The Kite Rider Sorceress The True Confessions
of Charlotte Doyle
# by Ge ra I di ne McCa ug h rea n by Celia Rees by Avi

e..l8-lt6 ln thirteenth certury China, Agnes grew up on a Mohawk At only r3, Charlotte is a
Hayou works as a kite rider. reservation in upstate New perfect young lady. When
It's a terrifying job, but as he York. When she starts she's on a ship traveling to
soars through the clouds he dreaming of a tTth-century America, she swears she will
sometimes sees his father's ancestor, she goes home to never leave her cabin, but by
spirit. Can these sightings the end ofthe voyage she's
give Hayou the wisdom and her Aunt M for help ls Agnes been accused of murder, tried,
courage to save his mother and found guilty.
and himself? goingcrazy, or is someone
trying to tell her secrets of her
family's past?

When is it OK to be scared?

Code Orange A Girl Named Disaster The Rag and Bone Shop
by Robert Cormier
by Caroline B. Cooney by Nancy Farmer
A llttle girl has been
Mitty panics when he Nhamo isn't even rz when murdered. Trent, an expert
remembers his biology she's forced to marry a cruel interrogator, is brought to
paper. He grabs some old man with three wives. Her Monument, Massachusetts to
medical books from his grandmother convinces her meet the rz-year-old suspect,
mother's office and finds an to run away, and Nhamo Jason Dorrant. lf Trent can
envelope of smallpox scabs must find her way from get the boy's confession it'll
from tgtz. Has Mittylust Mozambique to Zimbabwe make his career, but is.lason
on her own. really guilty?
unleashed a deadly virus on
New York City?