Journeys2017_Student_Edition_Grade5_Unit4_removed

UNIT 4

The Power of
Storytelling

The power of imagination makes us infinite.

— John Muir

Performance Task
Preview

At the end of the unit, you
will think about the texts
you have read. Then you
will write a literary analysis
in which you compare
and contrast the main
characters in two of
the stories.

477

Lesson Vocabulary
in Context

A History of the Comics 1 feature 2 record

Storytellers often One of these tiny
feature, or focus on, volumes could claim
tales from their own the record as the
cultural tradition. world’s smallest book.

LANGUAGE DETECTIVE 3 assuming 4 mental

Talk About the Mimes can tell stories Exact words help
Writer's Words without words, readers create mental
assuming viewers pictures of a story’s
Work with a partner. follow their motions. characters and setting.
Take turns asking and
answering questions
about the photos. Use
the blue Vocabulary
words in your questions
and answers.

Add new words to
myWordList. Use them
in your speaking
and writing.

478 ELA SL.5.1c, L.5.4a, L.5.6

Study each Context Card. Lesson 16

Use a dictionary or a glossary to verify the
meaning of each Vocabulary word.

5 launch 6 thumbed 7 developed

After the launch, or At the library, this An artist developed, or
initial printing, of his student thumbed planned, this character
book, this author signs through books to find from pencil sketch to
a copy of it at a store. a story to read later. final color drawing.

8 incredibly 9 episodes 10 villains

Roman heroes A story told in several In old movies most
like Hercules are episodes, or parts, is villains had evil grins,
often incredibly, or sometimes called a wore black clothes, and
unbelievably, strong. series. battled the heroes.

479

Read and
Comprehend

TARGET SKILL

Author’s Purpose In “Lunch Money,” details about the
main character, the setting, and the plot help reveal the
author’s purpose, or reason, for writing. As you read,
record text quotes and details in a graphic organizer like
the one below. Then use text evidence in the organizer to
help you infer, or figure out, the author’s purpose.

Character Setting Plot

Author’s Purpose

TARGET STRATEGY

Monitor/Clarify As you read, monitor your
understanding of the details in the text. Monitoring what
you read for text evidence will help clarify the author’s
purpose and give you a better understanding of characters
and events.

480 ELA RL.5.1, SL.5.1a, SL.5.1c

PREVIEW THE TOPIC

Visual Arts

If you’ve ever looked at a painting or watched a
movie, then you are familiar with the visual arts—art
forms that can be viewed. Comic books are another
kind of visual art. They tell stories through vivid
drawings, crisp dialogue, and exciting action.

Comic-book characters include both heroes and
villains. These characters often have extraordinary
powers. In “Lunch Money,” a boy named Greg has
created his own series of comic books. The heroes of
his books have adventures in several different settings.
From the selection, you will learn how much work can
go into creating just one edition of a comic book.

Talk About It

What do you know about the visual
arts and the effect they can have on
people and stories? What would you
like to know? Share your ideas with
your classmates. What did you learn
from others?

481

GENRE MEET THE AUTHOR

Realistic fiction includes Andrew
characters and events that are Clements
like people and events in real
life. As you read, look for: Andrew Clements says,
“I mostly write realistic
a setting that is familiar to fiction, novels that feel a lot like
most readers real life.” Like his character Greg,
a main character who Clements works hard at his writing.
overcomes a challenge To avoid distractions, he writes in
characters’ thoughts and his backyard shed with no phone, no
actions that are believable television, and no Internet!

MEET THE ILLUSTRATOR

Adam
Gustavson

Adam Gustavson wanted
to be a cowboy, but he was
allergic to horses. Then he wanted to be
a crocodile farmer, but there weren’t any
crocodiles in New Jersey where he lived.
He finally settled on art. He has illustrated
several books for young people.

482 ELA RL.5.1, RL.5.6, RL.5.7, RL.5.10, RF.5.4a, RF.5.4b

by Andrew Clements
selection illustrated by

Adam Gustavson

ESSENTIAL QUESTION

In what ways can
illustrations enhance a
reader’s experience?

483

Standing in the cafeteria line, Greg opened his red plastic pencil
case. He counted once, and then he counted again, just to be sure.
Then he grinned. There were thirteen left.

Sweet! That means I sold seventeen units.
That’s what Greg called the comic books he’d been selling—units.
And selling seventeen units before lunch was a new sales record.
Greg’s comic books weren’t the kind for sale at stores. Regular
comic books were sort of tall. Also a little floppy. Not Greg’s.
Greg’s comic books were about the size of a credit card, and
they could stand up on one end all by themselves. They were only
sixteen pages long, and he could fit about fifty of them into his
pencil case. These comic books were short and sturdy. And that’s
why they were called Chunky Comics.
Greg loved that name. He had chosen it himself. He got to
pick the name because he was the author of all the Chunky Comics
stories. He had drawn all the pictures too. And he was also the
designer, the printer, and the binder. Plus he was the marketing
manager, the advertising director, and the entire sales force. Chunky
Comics was a one-kid operation, and that one kid was Greg Kenton.
Greg snapped the pencil case shut and grabbed a tray. He took
a grilled cheese sandwich, a cup of carrot sticks, and then looked
over the fruit cocktail bowls until he found one with three chunks
of cherry. He got a chocolate milk from the cooler, and as he walked
toward his seat, Greg did some mental math.
Monday, the first day Chunky Comics had gone on sale, he had
sold twelve units; Tuesday, fifteen units; Wednesday, eighteen units;
and today, Thursday, he had already sold seventeen units—before
lunch. So that was . . . sixty-two units since Monday morning, and
each little book sold for $.25. So the up-to-the-minute sales total for
September 12 was . . . $15.50.

484

Greg knew why sales were increasing: word of mouth. Kids had
been telling other kids about his comic book. The cover illustration
was powerful, the inside pictures were strong, and the story was
loaded with action. The title was Creon: Return of the Hunter, and it
was volume 1, number 1, the very first of the Chunky Comics. So
that made it a collector’s item.

Greg sat down at his regular lunch table, next to Ted Kendall.
Ted nodded and said, “Hi,” but Greg didn’t hear him. Greg picked
up his sandwich and took a big bite. He chewed the warm bread
and the soft cheese, but he didn’t taste a thing. Greg was still
thinking about sales.

Fifteen fifty in three and a half days—not so hot.
Greg had set a sales goal for the first week: twenty-five dollars—
which meant that he had to sell one hundred units. It looked like he
was going to fall short.

ANALYZE THE TEXT

Voice Authors can use word choice and point of
view to show what a character is like. Explain how
the author uses these techniques to make Greg's
personality and voice come through.

485

The idea of making and selling comic books had hit Greg like
a over the head from Superman himself. It made perfect
sense. Candy and gum were against school rules, and tiny toys were
boring—and also against the rules. But how could he go wrong
selling little books? School was all about books and reading. True,
reading a comic book wasn’t exactly the same as reading a regular
book, but still, there was a rack of comics right in the kids’ section at
the public library downtown, and some new graphic novels, too.

Comic books had been part of Greg’s life forever, mostly because
of his dad’s collection. His dad’s collection filled three shelves in
the family room—and it was worth over ten thousand dollars. Once
Greg had shown he knew how to take care of the comic books, he
had been allowed to read and look at them all he wanted. Greg had
even bought a few collectible comics of his own, mostly newer ones
that weren’t very expensive.

486

It was his love of comic books that had first gotten Greg
interested in drawing. Comics had led Greg to books like How
to Draw Comic Book Villains, You Can Draw Superheroes, Make Your
Own Comic-Book Art, and Draw the Monsters We Love to Hate. Back
in third grade Greg had used his own money to buy india ink, dip
pens, brushes, and paper at the art supply store. And drawing new
comic-book characters was one of his favorite things to do—when he
wasn’t earning money.

That whole summer before sixth grade Greg had worked toward
the launch of Chunky Comics. From the start he had felt pretty sure
he could come up with a story idea, and he knew he would be able
to do the drawings.

But first he’d had to deal with a lot of hows: How does a whole
comic book get put together? How big should each be? How was
he going to print them? How much would it cost him to make
each one? And finally, how much money should he charge for his
finished comic books—assuming he could actually make some?

But one by one, Greg had found the answers. An encyclopedia
article about printing books had helped a lot. It showed how pages
of a book start as one large sheet of paper that gets folded in half
several times. Each time the sheet is folded, the number of pages
is doubled. So Greg took a piece of regular letter-size paper, and
folded it in half three times the way it showed in the encyclopedia.
That one piece of paper turned into a chunky little sixteen-page
book—Chunky Comics. It was so simple.

487

But not really. Greg figured out that making
little comic books was a ten-step process.

1. Write a story that can be told on 2. Sketch, draw, ink, and then letter
twelve to fourteen mini-comic all sixteen minipages—which
book pages. include the front and back
covers.

3. Paste eight of the minipage 4. Paste up the other eight minipages
drawings into their correct to make “master copy two.”
positions on a piece of paper to
make “master copy one”—a sheet
that can be copied again and again.

488

5. Using a copier, print the images 6. Print “master copy two” onto
from “master copy one” onto one the flip side of the press sheet—
side of a “press sheet”—a piece of making eight page images on the
regular letter-size paper. front, and eight on the back.

7. Carefully fold the press sheet with 8. Put in two staples along the crease
the sixteen copied minipages on it. at the very center of the little
book—between pages 8 and 9.

9. Trim the three unstapled edges— 10. Repeat.
and that makes one finished
mini-comic book. And each of the ten steps had
to be done perfectly, or no one
would ever want to spend
money on his little comics.

489

After all the hows had been settled, then came the writing. But
Greg hadn’t written just one story. He had developed a master
publishing plan. Volume 1 was going to be about Creon, an
incredibly intelligent Stone Age hero who helped his tribe deal with
ancient dangers, like prehistoric beasts and Cro-Magnon marauders.
Greg figured there could be seven or eight issues about Creon.

Chunky Comics volume 2 would feature the future, where a
superhero named Eeon tried to protect a small colony of humans
living in a world of melting ice caps and mutant life-forms that were
part human, part toxic sludge, and part recycled trucks and airplanes.
Again, there would be seven or eight issues featuring Eeon.

ANALYZE THE TEXT
Visual Elements What do you notice
about this story's illustrations? What
do they help you understand about the
story and the main character?

490

Then Chunky Comics volume 3 would feature Leon, a fairly
normal modern-age technodude who suddenly finds himself
energized when his digital atomic watch overheats and burns its
circuits into the nerves on his wrist. Leon learns that the watch
can be set for the future or the past. The six or seven time-travel
adventures of volume 3 would follow Leon to the past, where he
would team up with Creon, and then to the future, where he would
offer his services to the amazing Eeon. And eventually, all three
characters would have some final episodes together: Creon, Leon,
and Eeon—past, present, and future.

Once the master plan was set, writing the first Creon story,
Return of the Hunter, had been pretty easy for Greg. But the drawing
was more difficult than he’d thought it would be. It had taken a
long time to get each small page looking just the way he wanted. It
wasn’t like doodling or sketching. These pictures had to be good—
good enough to sell.

491

When both covers and the fourteen inside pages had
been drawn and inked and pasted in place to make the
two master copies, Greg tackled his first printing.

The copier he used was his dad’s, and it was actually
part of the printer that was hooked up to the computer in
the family room. It was an ink-jet printer, plus a scanner,
plus a copier—one of those “all-in-one” machines. It
made copies in either black and white or color.

Greg had stuffed about forty ruined sheets of paper
into the recycling bin before he had figured out how to get
all sixteen page images copied correctly onto the front and
back of one sheet of paper.

But finally, he had folded his first perfectly printed
sheet, stapled it twice, and trimmed the top, front, and
bottom edges. And then, one hot night in the middle of
July, Greg stood there in his family room and thumbed
through the very first volume of Chunky Comics. It had
been a proud moment.

ANALYZE THE TEXT
Author's Purpose Why do you think the
author uses such detail to explain how the
comic books are made? What do these
details reveal about the main character?

492

493

BE A READING DETECTIVE

Dig Deeper

Use Clues to Analyze the Text

Use these pages to learn about Author’s Purpose, Voice, and
Visual Elements. Then read “Lunch Money” again to apply what
you learned.

Author’s Purpose

Authors of fiction have different purposes, or reasons, for
writing. They may want to share a theme, create realistic characters
and plots, or simply entertain their readers. To achieve their
purpose, they develop the appropriate characters, events, settings,
and other elements in their writing. By looking closely at the details
in a work of fiction, you can understand the author’s purpose.

To determine the author’s purpose in “Lunch Money,” examine
the author’s description of the main character, the setting, and the
plot events. What overall impression do these elements create?
What is revealed through the details and story elements about the
author’s reason for writing the story?

A graphic organizer like the one below can help you use details
and elements in the story to determine the author’s purpose.

Character Setting Plot

Author’s Purpose

494 ELA RL.5.6, RL.5.7, RL.5.10

Voice

Although Greg does not tell the
story “Lunch Money,” the narrator
reveals Greg’s thoughts and
feelings as if Greg himself is sharing
them. To create a voice that is
realistic, the author chooses the
main character’s words carefully.
Greg uses informal language such
as “come up with” and “deal,” as
well as short sentences. This
realistic way of speaking brings out
Greg’s personality and makes his
character convincing.

Visual Elements

Authors of realistic fiction may
use visual elements, such as
graphic art and illustrations. These
elements can help readers “see”
what is happening more clearly.
They also set the tone or feeling of
the story. Look back at pages 488–
491. These pages include detailed
drawings of the steps involved in
putting together comic books, as
well as illustrations of Greg’s comic
characters.

495

Your Turn

RETURN TO THE ESSENTIAL QUESTION

Turn Review the selection Classroom
Conversation
and to prepare to discuss
Continue your discussion of “Lunch
Talk this question: In what Money” by explaining your answers to
these questions:
ways can illustrations enhance a
reader’s experience? As you 1 How would reading the story be
discuss, refer to specific text different if there were no
evidence to support your ideas illustrations?
and to elaborate on the
comments of others. 2 How would you describe Greg’s
character based on his actions in
the story?

3 Would you like to read Greg’s
comic books? Why or why not?

TALK ABOUT THEME

Discuss the Story The theme of a story is
the message or lesson about life that the
author wants readers to know. Theme is
conveyed through the characters’ actions,
feelings, and thoughts. With a partner,
identify the theme of “Lunch Money.” Use
text evidence to discuss how Greg’s
responses to challenges convey the theme.

496 ELA RL.5.1, RL.5.2, W.5.1c, W.5.9a, W.5.10, SL.5.1c

Performance Task

WRITE ABOUT READING

Response In “Lunch Money,” Greg publishes and sells his
own comic books. Do you think that his comic-book series
will be a success? Think about Greg’s qualities, the
planning he does, and the way he approaches his sales.
Then write a paragraph explaining how well you think he
will do. Use text evidence, such as quotations and details,
to support your view.

Writing Tip

Use transitions to relate your ideas to each
other. Words and phrases such as because,
specifically, and as a result can help show
how your reasons support your opinions.

497

A History of the Comics A History of the Comics

GENRE by Linda Cave

Informational text gives Do you read the funnies in the paper?
facts and examples about a They have been popular for more than
topic. one hundred years. They tell stories with
words and pictures, and new episodes
TEXT FOCUS appear each day. Assuming you read
comics, you know they can be funny.
A timeline marks the sequence Sometimes they feature adventures or
of important events in a period political issues. Some comics
of history or other span of time. are in books, too.
It shows how events in history
are related. Development of Comics

1907: Daily comics

1896: Yellow Kid 1934: Flash Gordon

1900 1920

1897: Speech balloons; 1933: First comic books
story panels

498 ELA RI.5.3, RI.5.10

Early Days

In 1896 the comic Yellow Kid appeared in a Sun-
day paper. The kid wore a wide yellow suit. The
words he “spoke” were written on the suit. People
thumbed through the papers just to read the comic.
Soon comics were in many Sunday papers. When
one artist used a speech balloon to show a character
speaking, other artists began to use the balloons. At
about the same time, artists developed panels, or
boxes, to show a series of events. Later, publishers
put comics in their papers every day.

1941: Calling All Girls, 1939–1945: Comic books 1970s: Comic
first comic for girls popular with WWII soldiers book collecting

1940 1960 1980

1938: First Superman 1954: Standards for comic books Present: Motion pictures
set by Comics Code Authority based on comic books

1950s: First comics
for grownups

499

Comic Strips to Comic Books

In the early 1930s, someone collected newspaper comics into
books to give away to people who bought certain products.
These were the first comic books. Writers and artists saw that
people wanted the books and would buy them. Soon original
stories began to appear in comic book form.

The Golden Age of Comic Books

Many historians say the golden age of comic books
began with the launch of Superman in 1938. He was
the first character to have super powers. His
comic books were incredibly popular. They
set a new sales record, with over one million
copies sold per issue. Noticing the new
superhero’s popularity, other comic book
artists created Batman, The Flash,
the Green Lantern, Captain America,
and Wonder Woman. They all fought
villains. Some used amazing tools
or had super physical and
mental powers.

The Comics Code and After

Some adults worried that comic books were bad
for children. A comics code was established in 1954 to
make sure comics were safe for kids to read. For many,
this marked the end of a golden age. Today comic books
are still popular, with new superheroes and villains
appearing each year. Classic superheroes like Superman and
Batman find new audiences through new comic book adven-
tures and in movies. Using words and artwork
together to tell a story is still a winning combination.

500

Compare TextsAHistoryoftheComics

TEXT TO TEXT

Compare Characters Review the selection “Off and

Running” (Lesson 3) with a partner. Using text evidence Miata Both Greg

and a Venn diagram, work together to compare the

character of Miata with Greg in “Lunch Money.” Look at

their goals, their character traits, and their work ethics.

Present your Venn diagram in small groups. Summarize

the important ways in which Miata and Greg are the same

and different.

TEXT TO SELF

Write a Thank-You Letter You do not have to be a superhero to do incredible
things. Write a thank-you letter to someone you know who has done something
special or out of the ordinary. In your letter, explain why you think what that
person did is special.

TEXT TO WORLD

Expand a Timeline Work with a partner to add to the
timeline in “Zap! Pow! A History of the Comics.” Begin by
studying the captions and illustrations on the timeline on
pages 498–499. Use print and electronic sources to find
additional information to include on the timeline. Add
three other important events in the history of comics, and
then review the revised timeline. How has the audience
for comics changed over the years?

EL A RL.5.1, RL.5.9, W.5.7, W.5.10

501

Grammar Digital Resources

Multimedia
Grammar Glossary
GrammarSnap
Video

What Is an Adjective? An adjective is a word that gives
information, such as how many and what kind, about a noun.
An adjective that tells what kind is called a descriptive adjective.
One special type of descriptive adjective tells the origin of the
person, place, or thing being described. These adjectives are formed
from names of places, so they are capitalized.

Descriptive Adjective Suzette likes comics with dynamic artwork.

Descriptive Adjective She especially likes the Japanese comics called
Giving Origin manga.

Try This! Work with a partner. Find the descriptive
adjectives in these sentences. Tell which identify

the origin of a person, place, or thing.

Her favorite adventures take place in Asian cities.

Modern buildings make a great background for intense action.

Korean costumes from ancient times add appeal.

Phil has a comic with Chinese warriors in it!

A capable superhero knows karate, jiujitsu, and kickboxing.

502

When you write, use precise, descriptive adjectives to create
clear images for your readers and to help make your writing more
interesting.

Vague Adjective Precise Adjectives

I photographed a big pyramid. I photographed a massive
Mexican pyramid.

Connect Grammar to Writing

As you revise your friendly letter this week, look for opportunities
to replace vague adjectives with descriptive adjectives. Using
descriptive adjectives will help readers visualize what you are
writing about.

503

Read and
Comprehend

TARGET SKILL

Story Structure As you read “LAFFF,” look for the
elements that make up the story’s structure, including
the setting, the characters, and the plot. Think about
the conflict or problem that the narrator faces. What
events follow from this conflict? How is the conflict finally
resolved? To trace how the story unfolds, use a graphic
organizer like this one. Be sure to list story events in
sequential order.

Setting Characters
Plot
Conflict:
Events:
Resolution:

TARGET STRATEGY

Infer/Predict As you read “LAFFF,” use details and other
text evidence to infer, or make logical guesses about, the
characters’ thoughts and feelings. Use these inferences
and events in the story to help you predict what might
happen next.

508 ELA RL.5.5, SL.5.1a

PREVIEW THE TOPIC

Creative Inventions

In the world of fiction, it is possible to invent
anything. After all, only the writer’s imagination limits
what can be done with words! Sometimes writers come
up with crazy inventions, such as computers or electric
cars, that later become part of the everyday world.
Time travel has not yet become a reality, but the idea of
traveling between different time periods has fascinated
many writers. In “LAFFF,” you will see one author’s
vision of a time machine and how using it affects the
story’s characters.

Think Pair Share

Think about a time when you thought
of an invention or idea that would solve
a problem or allow you to do something
you normally couldn’t. Where were you?
What did you do? How did things work
out? Share your story with a partner.
Encourage each other with positive
feedback. Then, discuss with your partner
how your stories are alike and different.

509

GENRE MEET THE AUTHOR

Science fiction is writing Lensey
based on scientific ideas and Namioka
often set in the future. As you
read, look for: Lensey Namioka was only
nine years old when she and
technology of the future her family moved to the
unrealistic events United States from China,
characters that may or may and although she adored
not be like real people spending time reading
stories, she found learning
510 ELA RL.5.5, RL.5.6, RL.5.10, RF.5.4a, RF.5.4b the complexities of the English language difficult.
Solving math problems came much more easily to
her, so she majored in mathematics in college and
became a math teacher. However, she never stopped
reading, and eventually her love of stories led her
to become a successful writer, too. Ms. Namioka has
written books for children and for young adults, as
well as several articles and popular short stories
such as “LAFFF.”

MEET THE ILLUSTRATOR

Hiromitsu
Yokota

Hiromitsu Yokota has
created illustrations for
numerous books, magazines,
and calendars. He likes to
infuse his work with details
and feelings from everyday
life and experiences.
Mr. Yokota uses digital technology to create his
illustrations because it allows him to manipulate
color and light while producing pictures that appear
to have been drawn by hand. He attended college
in Tokyo and earned a degree in fine arts, and is a
member of the Society of Illustrators.

from Best Shorts

by Lensey Namioka
selection illustrated by Hiromitsu Yokota

IMAGINE THE POSSIBILITIES ESSENTIAL QUESTION

Did you know that science fiction writers have been What role does
thrilling audiences with stories about time travel for imagination play in the
well over a century? One of the best-known novels
about time travel is H.G. Wells’s The Time Machine. invention process?
This novel features a main character who builds an
incredible time machine and uses it to explore and 511
interact with periods and people far into the future—
and it was written way back in 1888!

Readers throughout the world have had a long-
standing love affair with science fiction because it
stimulates their imaginations and weaves together
elements of fantasy, science, adventure, mystery, and
drama. Several popular science fiction authors have
seen their work adapted into movies or television series
that involve the creation of elaborate sets and futuristic
inventions, and while translating a writer’s vision
of time travel to film or screen can be difficult and
expensive, the payoff is that fans of the book get to see
the future or past brought to life in whole new ways.

Despite the countless depictions of time travel in
literature, film, and television, there is no evidence that
it has ever happened or could happen; it is a testament
to the talents of science fiction authors that they are
able to write such believable stories about a future
no one has yet experienced. Perhaps some of the
inventions, environments, and ideas in those stories will
be realized someday, though. Imagine that!

In movies, geniuses have frizzy white hair,
right? They wear thick glasses and have names like
Dr. Zweistein.

Peter Lu didn’t have frizzy white hair. He had
straight hair, as black as licorice. He didn’t wear
thick glasses, either, since his vision was normal.

Peter’s family, like ours, had immigrated from
China, but they had settled here first. When we
moved into a house just two doors down from the
Lus, they gave us some good advice on how to get
along in America.

I went to the same school as Peter, and we
walked to the school bus together every morning.
Like many Chinese parents, mine made sure that I
worked very hard in school.

In spite of all I could do, my grades were
nothing compared to Peter’s. He was at the top in
all his classes. We walked to the school bus without
talking because I was a little scared of him. Besides,
he was always deep in thought.

Peter didn’t have any friends. Most of the kids
thought he was a nerd because they saw his head
always buried in books. I didn’t think he even
tried to join the rest of us or cared what the others
thought of him.

512

Then he surprised us all. As I went down the block
trick-or-treating, dressed as a zucchini in my green sweats,
I heard a strange, deep voice behind me say, “How do
you do.”

I yelped and turned around. Peter was wearing a
long, black Chinese gown with slits in the sides. On his
head he had a little round cap, and down each side of
his mouth drooped a thin, long mustache.

“I am Dr. Lu Manchu, the mad scientist,” he
announced, putting his hands in his sleeves and bowing.

He smiled when he saw me staring at his costume.
It was a scary smile, somehow.

Some of the other kids came up, and when they saw
Peter, they were impressed. “Hey, neat!” said one boy.

I hadn’t expected Peter to put on a costume and
go trick-or-treating like a normal kid. So maybe he did
want to join the others after all—at least some of the
time. After that night he wasn’t a nerd anymore. He
was Dr. Lu Manchu. Even some of the teachers began to
call him that.

When we became too old for trick-or-treating, Peter
was still Dr. Lu Manchu. The rumor was that he was
working on a fantastic machine in his parents’ garage.
But nobody had any idea what it was.

One evening, as I was coming home from a baby-
sitting job, I cut across the Lus’ backyard. Passing their
garage, I saw through a little window that the light was
on. My curiosity got the better of me, and I peeked in.

513

I saw a booth that looked like a shower stall. A stool
stood in the middle of the stall, and hanging over the
stool was something that looked like a great big shower
head.

Suddenly a deep voice behind me said, “Good
evening, Angela.” Peter bowed and smiled his scary
smile. He didn’t have his costume on and he didn’t have
the long, droopy mustache. But he was Dr. Lu Manchu.

“What are you doing?” I squeaked.
Still in his strange, deep voice, Peter said, “What are
you doing? After all, this is my garage.”
“I was just cutting across your yard to get home.
Your parents never complained before.”
“I thought you were spying on me,” said Peter. “I
thought you wanted to know about my machine.” He
hissed when he said the word machine.
Honestly, he was beginning to frighten me. “What
machine?” I demanded. “You mean this shower-stall
thing?”
He drew himself up and narrowed his eyes, making
them into thin slits. “This is my time machine!”
I goggled at him. “You mean . . . you mean . . . this
machine can send you forward and backward in time?”
“Well, actually, I can only send things forward in
time,” admitted Peter, speaking in his normal voice again.
“That’s why I’m calling the machine LAFFF. It stands for
Lu’s Artifact For Fast Forward.”
Of course Peter always won first prize at the annual
statewide science fair. But that’s a long way from making
a time machine. Minus his mustache and long Chinese
gown, he was just Peter Lu.

514

“I don’t believe it!” I said. “I bet LAFFF is only good
for a laugh.”

“Okay, Angela. I’ll show you!” hissed Peter.
He sat down on the stool and twisted a dial. I heard
some bleeps, cheeps, and gurgles. Peter disappeared.
He must have done it with mirrors. I looked around
the garage. I peeked under the tool bench. There was no
sign of him.
“Okay, I give up,” I told him. “It’s a good trick,
Peter. You can come out now.”
Bleep, cheep, and gurgle went the machine, and there
was Peter sitting on the stool. He held a red rose in his
hand. “What do you think of that?”
I blinked. “So you produced a flower. Maybe you
had it under the stool.”
“Roses bloom in June, right?” he demanded.
That was true. And this was December.
“I sent myself forward in time to June when the
flowers were blooming,” said Peter. “And I picked the
rose from our yard. Convinced, Angela?”
It was too hard to swallow. “You said you couldn’t
send things back in time,” I objected. “So how did you
bring the rose back?”
But even as I spoke I saw that his hands were empty.
The rose was gone.
“That’s one of the problems with the machine,” said
Peter. “When I send myself forward, I can’t seem to stay
there for long. I snap back to my own time after only a
minute. Anything I bring with me snaps back to its own
time, too. So my rose has gone back to this June.”

ANALYZE THE TEXT

Literary Devices When authors use words, such as buzz
or clang, that sound like the noises they describe, it is called
onomatopoeia. Where has the author used onomatopoeia
on this page, and what does it add to the story?

515

I was finally convinced, and I began to see
possibilities. “Wow, just think: If I don’t want to do
the dishes, I can send myself forward to the time when
the dishes are already done.”

“That won’t do you much good,” said Peter.
“You’d soon pop back to the time when the dishes were
still dirty.”

Too bad. “There must be something your machine is
good for,” I said. Then I had another idea. “Hey, you can
bring me back a piece of fudge from the future, and I can
eat it twice: once now, and again in the future.”

“Yes, but the fudge wouldn’t stay in your stomach,”
said Peter. “It would go back to the future.”

“That’s even better!” I said. “I can enjoy eating the
fudge over and over again without getting fat!”

It was late, and I had to go home before my parents
started to worry. Before I left, Peter said, “Look, Angela,
there’s still a lot of work to do on LAFFF. Please don’t
tell anybody about the machine until I’ve got it right.”

A few days later I asked him how he was doing.
“I can stay in the future time a bit longer now,” he
said. “Once I got it up to four minutes.”
“Is that enough time to bring me back some fudge
from the future?” I asked.
“We don’t keep many sweets around the house,” he
said. “But I’ll see what I can do.”
A few minutes later, he came back with a spring roll
for me. “My mother was frying these in the kitchen, and
I snatched one while she wasn’t looking.”

516

I bit into the hot, crunchy spring roll, but before I
finished chewing, it disappeared. The taste of soy sauce,
green onions, and bean sprouts stayed a little longer in
my mouth, though.

It was fun to play around with LAFFF, but it wasn’t
really useful. I didn’t know what a great help it would
turn out to be.

Every year our school held a writing contest, and
the winning story for each grade got printed in our
school magazine. I wanted desperately to win. I worked
awfully hard in school, but my parents still thought I
could do better.

Winning the writing contest would show my parents
that I was really good in something. I love writing
stories, and I have lots of ideas. But when I actually
write them down, my stories never turn out as good
as I thought. I just can’t seem to find the right words,
because English isn’t my first language.

I got an honorable mention last year, but it wasn’t
the same as winning and showing my parents my name,
Angela Tang, printed in the school magazine.

The deadline for the contest was getting close, and I
had a pile of stories written, but none of them looked like
a winner.

Then, the day before the deadline, boing, a brilliant
idea hit me.

I thought of Peter and his LAFFF machine.
I rushed over to the Lus’ garage and, just as I had
hoped, Peter was there, tinkering with his machine.

517

“I’ve got this great idea for winning the story contest,”
I told him breathlessly. “You see, to be certain of winning, I
have to write the story that would be the winner.”

“That’s obvious,” Peter said dryly. “In fact, you’re going
around in a circle.”

“Wait, listen!” I said. “I want to use LAFFF and go
forward to the time when the next issue of the school
magazine is out. Then I can read the winning story.”

After a moment Peter nodded. “I see. You plan to write
down the winning story after you’ve read it and then send it
in to the contest.”

I nodded eagerly. “The story would have to win,
because it’s the winner!”

Peter began to look interested. “I’ve got LAFFF to the
point where I can stay in the future for seven minutes now.
Will that be long enough for you?”

“I’ll just have to work quickly,” I said.
Peter smiled. It wasn’t his scary Lu Manchu smile, but
a nice smile. He was getting as excited as I was. “Okay,
Angela. Let’s go for it.”
He led me to the stool. “What’s your destination?” he
asked. “I mean, when’s your destination?”
Suddenly I was nervous. I told myself that Peter had
made many time trips, and he looked perfectly healthy.
Why not? What have I got to lose—except time?
I took a deep breath. “I want to go forward three
weeks in time.” By then I’d have a copy of the new school
magazine in my room.

518

“Ready, Angela?” asked Peter.
“As ready as I’ll ever be,” I whispered.
Bleep, cheep, and gurgle. Suddenly Peter disappeared.
What went wrong? Did Peter get sent by mistake, instead of
me?
Then I realized what had happened. Three weeks
later in time Peter might be somewhere else. No wonder I
couldn’t see him.
There was no time to be lost. Rushing out of Peter’s
garage, I ran over to our house and entered through the
back door.
Mother was in the kitchen. When she saw me, she
stared.
“Angela! I thought you were upstairs taking a shower!”
“Sorry!” I panted. “No time to talk!”
I dashed up to my room. Then I suddenly had a strange
idea. What if I met myself in my room? Argh! It was a
spooky thought.
There was nobody in my room. Where was I? I mean,
where was the I of three weeks later?
Wait. Mother had just said she thought I was taking a
shower. Down the hall, I could hear the water running in
the bathroom. Okay. That meant I wouldn’t run into me
for a while.

ANALYZE THE TEXT
Point of View From what point of
view does the author tell the story?
How do you know? How does this
point of view affect the way story
events are described?

519

I went to the shelf above my desk and frantically
pawed through the junk piled there. I found it! I found
the latest issue of the school magazine, the one
with the winning stories printed in it.

How much time had passed? Better hurry. The
shower had stopped running. This meant the other me was
out of the bathroom. Have to get out of here!

Too late. Just as I started down the stairs, I heard
Mother talking again. “Angela! A minute ago you were
all dressed! Now you’re in your robe again and your
hair’s all wet! I don’t understand.”

I shivered. It was scary, listening to Mother talking
to myself downstairs. I heard my other self answering
something, then the sound of her—my—steps coming up
the stairs. In a panic, I dodged into the spare room and
closed the door.

I heard the steps—my steps—go past and into my room.
The minute I heard the door of my room close, I
rushed out and down the stairs.
Mother was standing at the foot of the stairs. When
she saw me, her mouth dropped. “But . . . but . . . just a
minute ago you were in your robe and your hair was all
wet!”
“See you later, Mother,” I panted. And I ran.
Behind me, I heard Mother muttering, “I’m going mad!”

520

I didn’t stop and try to explain. I might go mad, too.
It would be great if I could just keep the magazine with
me. But, like the spring roll, it would get carried back to its
own time after a few minutes. So the next best thing was to
read the magazine as fast as I could.
It was hard to run and flip through the magazine at
the same time. But I made it back to Peter’s garage and
plopped down on the stool.
At last I found the story: the story that had won the
contest in our grade. I started to read. Suddenly I heard
bleep, cheep, and gurgle, and Peter loomed up in front of
me. I was back in my original time again.
But I still had the magazine! Now I had to read the
story before the magazine popped back to the future. It
was hard to concentrate with Peter jumping up and down
impatiently, so different from his usual calm, collected self.

ANALYZE THE TEXT
Story Structure Setting, where the story happens,
is often an important part of a story’s structure. How
does the setting make Angela’s trip to the future
exciting and funny?

521

I read a few paragraphs, and I was beginning to see
how the story would shape up. But before I got any further,
the magazine disappeared from my hand.

So I didn’t finish reading the story. I didn’t reach the
end, where the name of the winning writer was printed.

That night I stayed up very late to write down what I
remembered of the story. It had a neat plot, and I could see
why it was the winner.

I hadn’t read the entire story, so I had to make up the
ending myself. But that was okay, since I knew how it
should come out. The winners of the writing contest would
be announced at the school assembly on Friday. After we
had filed into the assembly hall and sat down, the principal
gave a speech. I tried not to fidget while he explained
about the contest.

Suddenly I was struck by a dreadful thought.
Somebody in my class had written the winning story, the
one I had copied. Wouldn’t that person be declared the
winner, instead of me?

The principal started announcing the winners. I
chewed my knuckles in an agony of suspense, as I waited
to see who would be announced as the winner in my class.
Slowly, the principal began with the lowest grade. Each
winner walked in slow motion to the stage, while the
principal slowly explained why the story was good.

At last, at last, he came to our grade. “The winner
is . . .” He stopped, slowly got out his handkerchief, and
slowly blew his nose. Then he cleared his throat. “The
winning story is ‘Around and Around,’ by Angela Tang.”

I sat like a stone, unable to move. Peter nudged me.
“Go on, Angela! They’re waiting for you.”

522

I got up and walked up to the stage in a daze. The
principal’s voice seemed to be coming from far, far away
as he told the audience that I had written a science fiction
story about time travel.

The winners each got a notebook bound in imitation
leather for writing more stories. Inside the cover of the
notebook was a ballpoint pen. But the best prize was
having my story in the school magazine with my name
printed at the end.

Then why didn’t I feel good about winning?
After assembly, the kids in our class crowded around
to congratulate me. Peter formally shook my hand. “Good
work, Angela,” he said and winked at me. That didn’t
make me feel any better. I hadn’t won the contest fairly.
Instead of writing the story myself, I had copied it from the
school magazine.
That meant someone in our class—one of the kids
here—had actually written the story. Who was it?
My heart was knocking against my ribs as I stood there
and waited for someone to complain that I had stolen his
story.
Nobody did.
As we were riding the school bus home, Peter looked
at me. “You don’t seem very happy about winning the
contest, Angela.”
“No, I’m not,” I mumbled. “I feel just awful.”
“Tell you what,” suggested Peter. “Come over to my
house and we’ll discuss it.”
“What is there to discuss?” I asked glumly. “I won the
contest because I cheated.”

523

“Come on over, anyway. My mother bought a fresh package
of humbow in Chinatown.”

I couldn’t turn down that invitation. Humbow, a roll stuffed
with barbecued pork, is my favorite snack.

Peter’s mother came into the kitchen while we were munching,
and he told her about the contest.

Mrs. Lu looked pleased. “I’m very glad, Angela. You have a
terrific imagination, and you deserve to win.”

“I like Angela’s stories,” said Peter. “They’re original.”
It was the first compliment he had ever paid me, and I felt my
face turning red.
After Mrs. Lu left us, Peter and I each had another humbow.
But I was still miserable. “I wish I had never started this. I feel like
such a jerk.”
Peter looked at me, and I swear he was enjoying himself. “If
you stole another student’s story, why didn’t that person complain?”
“I don’t know!” I wailed.
“Think!” said Peter. “You’re smart, Angela. Come on, figure
it out.”
Me, smart? I was so overcome to hear myself called smart by
a genius like Peter that I just stared at him.
He had to repeat himself. “Figure it out, Angela!”
I tried to concentrate. Why was Peter looking so amused?
The light finally dawned. “Got it,” I said slowly.
“I’m the one who wrote the story.”
“The winning story is your own, Angela, because that’s the
one that won.”
My head began to go around and around. “But where did the
original idea for the story come from?”
“What made the plot so good?” asked Peter. His voice
sounded unsteady.
“Well, in my story, my character used a time machine to
go forward in time . . .”

524

“Okay, whose idea was it to use a time machine?”

“It was mine,” I said slowly. I remembered the

moment when the idea had hit me with a boing.

“So you s-stole f-from yourself!” sputtered Peter.

He started to roar with laughter. I had never seen

him break down like that. At this rate, he might

wind up being human.

When he could talk again, he asked me to read

my story to him.

I began. “‘In movies, geniuses have frizzy white

hair, right? They wear thick glasses and have names

like Dr. Zweistein . . . .’”

COUNT ON CREATIVITY!

The main character in Lensey Namioka’s short story
“LAFFF” goes to extreme measures to ensure that she takes
home top honors in a writing competition and sees her
story published in the school magazine. Winning the contest
is a thrill, especially when she realizes she has learned a
lesson much more valuable than a contest prize: the story
was in her all along, and she needed only to believe in
her own creative ability. This lesson is one that even the
most celebrated professional authors have to continuously
reinforce within themselves. Writing an imaginative story
or a work of science fiction can feel particularly risky, and
writers often question whether audiences will continue to
find their scenes and settings interesting, or whether people
will be eager to follow story characters on journeys that
may seem extraordinary or at times even bizarre. Often the
most challenging aspect of the writing process is coming to
trust one’s own instincts, talents, and ideas.

As you write your own plays and stories, remember that
readers find it enjoyable to be transported into the world
an author constructs in a story, even when (or, in some
cases, especially when!) that world is utterly unlike their
own. Although inventing a whole new world or new kind
of character can be intimidating in the planning stages,
have faith that others out there share your interests, and
work to help readers visualize what you see in your mind.
Vivid language and descriptions, relatable details, and fully
formed characters and ideas—and a writer’s confidence in
his or her own original vision—can ensure that readers will
find even the most far-fetched story irresistible.

525

BE A READING DETECTIVE

Dig Deeper

Use Clues to Analyze the Text

Use these pages to learn about Story Structure, Literary Devices,
and Point of View. Then read “LAFFF” again to apply what you
learned.

Story Structure

Authors of science fiction such as “LAFFF” carefully organize the
elements of their stories. A well-planned story structure means
that the setting, characters, and plot fit together in a way that
makes sense to readers and keeps their attention.

In “LAFFF,” for example, the first part of the story gives readers
important background information about the characters of Angela
and Peter. Readers learn that Peter is a genius and that Angela
wants to please her parents by succeeding in school. Knowing these
details helps readers understand why the characters act as they do
later in the story.

Use a graphic organizer like the one below to identify story
elements and to analyze how they fit together to provide the
overall structure.

Setting Characters
Plot
Conflict:
Events:
Resolution:

526 ELA RL.5.5, RL.5.6, RL.5.10, L.5.5a

Literary Devices

Writers use various kinds of
literary devices, such as figurative
language and sound, to convey
meaning in a story. Onomatopoeia
refers to words that sound like
what they mean. Crack, boom, and
bang are all examples of
onomatopoeia. When you say
them aloud, you hear the sounds
they are describing. Authors of
science fiction such as “LAFFF” use
onomatopoeia to keep readers
interested and to help them hear
what the characters do.

Point of View

Point of view is the perspective
from which a story is written.
Because of the first-person point of
view in “LAFFF,” readers know only
what Angela knows, thinks, and
feels. She is not able to see how
events will turn out before they
actually happen. This creates
suspense in the story. For example,
Angela doesn’t know if Peter’s time
machine really works. Neither do
readers—they must keep reading to
find out!

527

Your Turn

RETURN TO THE ESSENTIAL QUESTION

Turn Review the selection Classroom
Conversation
and to prepare to discuss
Continue your discussion of “LAFFF”
Talk this question: What by using text evidence to answer these
questions:
role does imagination play in
the invention process? As you 1 How does Angela’s imagination
discuss, ask questions to clarify help set up the story’s conflict?
others’ ideas. With your partner
or group, draw some 2 What message about time travel
conclusions from key points do the events in the story send?
made during your discussion.
3 How does Angela change during
the story?

The sky's the limit!

DISCUSS THE NARRATOR

Explore Point of View The point of view
of “LAFFF” is first person. Angela is both the
narrator and the main character. As a result,
readers see events and other characters
through her eyes. With a partner, discuss
how seeing Peter from Angela’s perspective
affects your understanding of him. Share
your observations with the class, supporting
them with text evidence.

528 ELA RL.5.2, RL.5.6, W.5.1b, W.5.9.a, SL.5.1a, SL.5.1c

Performance Task

WRITE ABOUT READING

Response Think about the conflict, or problem, that
Angela struggles with throughout “LAFFF.” It is resolved
after Angela wins first place in the writing contest—but is
the solution to her problem logical and believable? Write a
paragraph in which you discuss whether you are satisfied
with the resolution of the story. Be sure to support your
opinion with evidence from the text.

Writing Tip

Choose a logical order for your reasons,
such as strongest to weakest. Support each
reason with specific details from the text.

529

GENRE Sci Fi Authors Predict the Future

Informational text, such as Long ago, computers, fax machines, and
this magazine article, gives facts satellites seemed impossible. There was not a
and examples about a topic. hint or a rumor that they could ever be a part
of our lives. Yet now we use them every day.
TEXT FOCUS They were first dreamed up not by engineers,
but by science fiction writers. Jules Verne was
Photographs and a writer who could concentrate on amazing
illustrations are used in ideas. In 1863, he published an early science
both fiction and nonfiction fiction book, Five Weeks in a Balloon. Since
selections to show events or then, people have been impressed by how
important details or to support the genre can predict the future. Many
information. predictions, like time travel, are not possible
in the real world. But sometimes machines
first dreamed up by writers do become real.

In this drawing from Verne’s From the Earth to
the Moon, a crowd watches in suspense as the
space capsule is prepared to take off.

530 ELA RI.5.10