Teacher Work Sample

PSU
TEACHER WORK SAMPLE

TEMPLATE
Your First and Last Name: Cameron Burson
Date Submitted: 11/22/17
District where you completed

USD 250
the TWS:
Name of School Building

where you completed the Pittsburg High School
TWS:
Content Area of your TWS: English/Creative Writing
TWS Unit Topic: Point-of-View
Grade Level of the Classroom

/ Students in Which the TWS 11-12
Unit Was Completed:
Pittsburg State University Teacher Work Sample 1

I. Contextual Information and Learning Environment Factors
A. Narrative General Contextual Information for Community, District, and School (limited to 1 page)
Pittsburg, Kansas, in Crawford county, is located 78 miles W of Springfield, Missouri (center to center) and is 112 miles NE of Tulsa, Oklahoma. Pittsburg was
established in 1876. It was named honoring the Pittsburgh City, Pennsylvania. Franklin Playter is considered to be the founder of the city. In the 1870s, the city
was a coal mining camp. Tourists flock to the Carona Depot Museum while in Pittsburg. Shopping is a fun activity at the Gibson Shopping Center and the Plaza
Shopping Center. The city also has many parks including the Lincoln Park, Schlanger Park, and Lakeside Park. Pittsburg hosts several festivals like the Little
Balkans Days every year. Pittsburg State University is situated in Pittsburg. Other higher education institutes that can be attended in Pittsburg include Missouri
Southern State College, Northwest Arkansas Community College, and Southwest Baptist University.
People
Total Population 20,382
Male Share of the Population 50.9%
Female Share of the Population 49.1%
Senior Citizens 12.2%
Employed Population 16+ 9,563
Age of the Population 26
Families
% of people married 35.8%
Average household size 2
Education and Earnings
Population % with Bachelor Degree or Higher 33.6%
Median Earnings25+ $29,549
Median Earnings Without High School Qualification $25,181
Median Earnings With High School Degree $24,060
Wealth
Median Family Income $53,422
% Above Poverty Level 69.5%
% Below Poverty Level 30.5%
Commute & Sprawl
Average Commute Time 13 minutes
% Working from Home 2.3%
% Walking and Biking to Work 4.5%
% Using Public Transportation 0.3%
Housing
People Living Alone 35.5%
Median Gross Rent $680

Median House Value $87,100
Ancestry
Other(often includes Hispanic and African American) 23.7%
US/American 0%
English 7.5%
Irish 12.5%
Source: American Community Survey, U.S. Census Bureau, 2015, www.census.gov/programs-surveys/acs/.
Table 1.1 Class Contextual Information (limited to 1 page)

Grade level __11-12_____ Content area (e.g., mathematics) ___English__________ Topic (e.g., geometry) ____Point-of-View___
Age range of students ______16-18_________ Number of male students _____4______
Total number of students ______22______ Number of female students ____18______
Percentage of students receiving free lunch ____33%______ Percentage of students receiving reduced lunch_______9%_______
[if free/reduced lunch information not available for class, provide school percentages]
Area in which students live (check all that apply): Urban _____ Suburban ___X___ Rural ___X___
Ethnicity of students (give numbers) ___2___ African American or Black ___1___ Hispanic or Latino
___2__ Native American/Alaskan Native ___17__ White
______ Asian or Pacific Islander ______ Other (specify) __________
Language proficiency of students (give ______ Fluent English Proficient ______ English Language Learners
numbers)
Identified special needs categories ___1___ Specific Learning Disability _______ Speech/Language Impaired
represented (give numbers) _______ Hard of Hearing _______ Visually Impaired
_______ Deaf _______ Orthopedically Impaired
_______ Deaf-Blind _______ Emotionally Disturbed
_______ Other Health Impaired _______ Autism
_______ Multiple Disabilities _______ Mental Retardation
_______ Brain Injury ___4___Gifted
_______ Established Medical Disability (0-5 yrs) _______ Developmentally Delayed
_______ At risk for developmental disabilities _______ Other (Specify)_______________

Provide appropriate charts/graphs to display demographic data for district, school, and classroom in Appendix A.
Table 1.2 Student Characteristics for Whole Class (limited to 1 page)

Student Characteristics Specific Descriptions
Intellectual Characteristics This class is full of promising young students, primarily seniors, but a few underclassmen, with a wide variety of
- Including readiness, intellectual levels. There are students who are very high-achieving as well as students who consistently
cognitive abilities, learning underperform, as well as students with excellent aptitude but poor work ethic. Reasons for this may include various
needs, developmental levels, factors, not limited to senioritis, developmental levels, skill gaps, the fact that the class is interrupted by lunch, and
etc. the fact that the class is an elective and seems to encourage those who want to improve and discourage those who
simply needed another English credit. However, in almost every case, the students have benefited from the
coursework and seem motivated to create.
Previously demonstrated Based on the students performance in the class thus far, the percentages of students performing within the A-B
academic performance/ category was significantly high, thoughas this is an elective and a majority of the students put in the time and
ability: energy necessary to succeedthis is not particularly surprising. There are a good portion of students performing at
% Above standard __60___ the C level, nearly a third, in fact. The remainder, which includes just a couple students, are those who are sitting at a
% Meets standard __30___ D or below.
% Below standard __10___
Social Characteristics This class, as expected of any class that emphasizes creativity, is quite diverse. Students are, by and large, incredibly
- Including emotional, respectful and feel comfortable presenting themselves through their work to their classmates without shying away
attitudinal, motivational, etc. from harsh realities and often with a great deal of empathy for one another. They do not speak out of turn, raise their
hands to answer questions, and rarely complain about workload or assignments. It can be difficult at times, however,
to engage them in material that does not immediately concern them, so it is paramount to assign tasks and explain the
rationale behind those tasks simultaneously. Otherwise the busy work association will discourage their legitimate
cooperation. There are several friend groups that sit together (they are allowed to assign their own seats), but,
fortunately, these rarely prove to be a distraction and often act as a supportive bubble for each student within them, as
often group work requires commentary and critique from their peers. At times, this bubble can be too insulating, but
for the most part it is advantageous to the creative process. There are four students in particular who are more
isolated and very rarely speak, one of who is on an IEP and has sought out assistance regarding specific assignments.
The others often perform well, but seem shy and uncomfortable speaking up in class. As this is a creative
atmosphere, however, they are often encouraged to speak up anyway, or to read their material aloud, which is often
more mortifying for them, but ultimately easier, and they never seem to resent it. There are a few students who feel
very comfortable offering their opinions, and these often dictate the flow of discussion, although this has been
mitigated somewhat by the inclusion of discussion management and a wider spread of questioning procedures.
Personal Characteristics While this class is broken down the middle by a lunch, the students often come in at the beginning and middle of the
- Including physical, social, hour with a fair amount of respect and are often easily returned to task. The breakup of this class is something that
individual experiences, has to be dealt with in terms of lesson planning, however, as it is often difficult to carry over a singular task from one
talents, language, culture, part of the hour to the other. Often activities will be split between before and after lunch, with a focus on modeling
family and community on the forefront and independent practice on the back end. Many of the students have, through their work, displayed
values, etc. an unfortunate familiarity with adverse home situations involving their parents or homes or selves. In all cases,
however, the students seem to have embraced the creative process as an outlet for their circumstances, and, perhaps,
this is where the empathy they all display comes from.
B. Narrative: Implications for Whole Class Instruction Based on Information from Table 1.2 (limited to 1 page)
This class requires a steady and focused approach that includes little downtime. Constructive time management has proven the best method for
engaging the class as well as giving them a direction. Unlike many other disciplines, creative writing encourages independent practice to a
significant degree, especially as much of its evaluation is subjective in nature and is, therefore, difficult to reinforce. The main goal is to encourage
students to find their voices and to help them work on achieving their goals with technical advice and a willingness to adapt to their needs. Being
critical, while necessary, is not always the best approach for each student in this case. Instead, a balance between critique and encouragement must
be achieved. Often this plays out in group discussion, during which peers get together and talk about what worked and what did not on a given
piece, or in the form of genial criticism, which is how most of the works we read are evaluated (a process which, I believe, infects the overall
atmosphere of whole class evaluation and discussion). In fact, I regularly try to reinforce the idea that I am here to help them get better and that,
regardless of whether they find anything valuable in what they read or discuss, every lesson is designed to round out their ability as writersa
reminder that often proves advantageous to any seditious leanings students may have.
C. Sub- Groups/Students Information

Describe this
Why was this
subgroup/student
subgroup/student What was learned about this subgroup/student?
using information
selected?
from Table 1.1

Intellectual
Each member of this group is underperforming in the class as a whole, typically from not
completing assignments, as opposed to a lack of ability, which does not necessarily corroborate
their grade on this assignmentbut is the case nonetheless.
This group was selected to

Students who scored below evaluate effectiveness of
Social
the instruction on those One member of this group is excessively quiet, although perhaps not shy; she will often meet my
average proficiency on Pre-
who had the least eyes and does not seem discouraged by the idea of speaking, but instead seems to simply prefer
Assessment on all 3 Parts.
SUBGROUP foundational knowledge. not to. Another is also quiet, but seems comfortable being called on and is talkative when in
or groups. The last is the male member of a heterosexual couple and, while an easy-going student,
has often displayed not so much apathy as a general lack of concern for his status in the class.
FOCUS
STUDENT
Personal
The first member mentioned above seems distant from her peers and content to sit throughout
class without conversing or interacting, which makes it difficult to gauge her level of interest or
knowledge without individual interaction. The second is often absent for a variety of reasons,
some of which are administrative in nature, and seems to be suffering as a result (making up
material in all her classes has limited her ability to stay on top of the reading and coursework).
The third must be occasionally reminded to stay off his phone, but is otherwise respectful and
discusses his take on material with his peers.
Intellectual
This student is underperforming in this class, both in terms of work completion as well as
comprehension. Her difficulties are compounded by learning struggles that have been annotated
in her IEP.
This student was selected

Focus student who scored based on low performance Social
lowest on Pre-Assessment. as well as the students This is, in many ways, the most integral aspect of this students difficulties. The student is
unique needs. excessively non-social and reticent to speak during discussion or among her peers. Because of
SUBGROUP her learning difficulties and social difficulties, this makes gauging her understanding or lack
or thereof that much more difficult to diagnose. Often, however, proving attentive and patient can
FOCUS mitigate these difficulties.
STUDENT
Personal
This student has a particularly difficult home-life, which includes an alcoholic parent and a
responsibility to care for her younger sibling, both of which contributes to difficulty completing
assignments at home or focusing in class (she is often tired). Still, she seems actively engaged in
graduating and, as such, endeavors to complete the assignments after the fact. Sadly, her
performance suffered over the course of this unit (she was absent three of the six days), and her
grasp of the concepts were, unfortunately, compromised, as such.

D. Narrative Implications for Sub-Groups/Focus Students Instruction (limited to 1 page)
In both cases, the sub-groups are designed based on performance and improvement. It is my hope that, overall, the students involved will have a much stronger
foundational knowledge and a willingness to participate in discussion. If the latter proves difficult, it is my contention that individual interactions can help
determine concept retention and establish a better relationship between myself and the students that allows for improved performance as a whole.

II. Instructional Design
A. Narrative Description of Range of Objectives and Rationale for Selection (limited to 1 page)
This class requires a steady and focused approach that includes little downtime. Constructive time management has proven the best method for
engaging the class as well as giving them a direction. Unlike many other disciplines, creative writing encourages independent practice to a
significant degree, especially as much of its evaluation is subjective in nature and is, therefore, difficult to reinforce. The main goal is to encourage
students to find their voices and to help them work on achieving their goals with technical advice and a willingness to adapt to their needs. Being
critical, while necessary, is not always the best approach for each student in this case. Instead, a balance between critique and encouragement must
be achieved. Often this plays out in group discussion, during which peers get together and talk about what worked and what did not on a given
piece, or in the form of genial criticism, which is how most of the works we read are evaluated (a process which, I believe, infects the overall
atmosphere of whole class evaluation and discussion). In fact, I regularly try to reinforce the idea that I am here to help them get better and that,
regardless of whether they find anything valuable in what they read or discuss, every lesson is designed to round out their ability as writersa
reminder that often proves advantageous to any seditious leanings students may have.
B. State Objectives Here: Focus should be on student performance not activities. What will students know or be able to do? (limited to 1 page)
Level(s)
Obj.
Unit Objectives (e.g. Blooms
No.
Taxonomy)
1
Students will be able to identify the characteristics, advantages, and disadvantages of first person in fiction. Evaluate/Remember
2
Students will compose their own first person examples. Apply/Create
Analyze/Evaluate/Re
3
Students will be able to identify the characteristics, advantages, and disadvantages of second person in fiction. member
4
Students will compose their own second person examples. Apply/Create
Students will be able to identify the characteristics, advantages, and disadvantages of third person limited in Analyze/Evaluate/Re
5
fiction. member
6
Students will compose their own third person limited examples. Apply/Create

Students will be able to identify the characteristics, advantages, and disadvantages of third person omniscient in Analyze/Evaluate/Re
7
fiction. member
8
Students will compose their own third person omniscient examples. Apply/Create
C. Identify State Standards Benchmarks Addressed by Unit Objectives How do objectives address these standards? (limited to 1 page)
W.11-12.3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured
event sequences.
W.11-12.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
W.11-12.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing
what is most significant for a specific purpose and audience.
W.11-12.12 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a
day or two) for a range of tasks, purposes.
SL.11-12.1 Initiate and participate effectively in a range of collaborative discussion (one-on-one, in groups, and teacher-led) with diverse partners
on grades 11-12 topics, texts, and issues, building on others ideas and expressing their own clearly and persuasively.
RL.11-12.2 Determine two or more themes or central ideas of a text and analyze their development, including how they interact and build on one
another to produce a complex account; provide an objective summary of the text.
RL.11-12.3 Analyze the impact of the authors choices regarding how to develop and relate elements of a story or drama.
RL.11-12.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the
impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or
beautiful.
RL.11-12.5 Analyze how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as
well as its aesthetic impact.
RL.11-12.6 Analyze a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant.
RL.11-12.13 Read and comprehend literature, including stories, dramas, and poems.

Pre-Assessment: POV Assessment
T Lesson Formative
Instructional Activities/ Describe Specific Adaptations/
Lesson Date R Objecti Assessment
Strategies Differentiation
I ve(s) (formal/informal)
Administer Pre-Assessment
SL.11-
Pass out and briefly review packets. Formal (POV
12.1,
1 10/30 I
W.11- Allow volunteers to read from previous Assessment)/Informal Whole class discussion
exercises and discuss POV as a broad (volunteered material)
12.4
concept.
RL.11-
12.1,
RL.11-
12.2,
RL.11- Facilitate discussion over advantages
12.3, and disadvantages of 1st Person using
RL.11- Unraveling packet.
12.4,
Review story elements (character, plot,
RL.11-
setting, etc.) over 1st Person story Formal (Written In-class reading, whole class discussion, group
12.6,
2 10/31 RI Discuss possible advantages and Advantages/Disadvant pairing/discussion, one-on-one engagement during
RL.11-
disadvantages of 1st person. ages) writing exercise
12.13,
W.11- Record advantages and disadvantages
12.3., into packet.
W.11- Complete a writing exercise in which
12.4, students write an exercise in 1st person.
W.11-
12.5.,
W.11-
12.12
RL.11-
Facilitate discussion over advantages
12.1,
and disadvantages of 2nd Person using
RL.11-
Unraveling packet.
12.2,
Review story elements (character, plot, Formal (Written In-class reading, whole class discussion, group
RL.11-
3 11/01 RI
12.3,
setting, etc.) over 2nd Person story. Advantages/Disadvant pairing/discussion, one-on-one engagement during
Discuss possible advantages and ages) writing exercise
RL.11-
disadvantages of 2nd person.
12.4,
RL.11- Record advantages and disadvantages
12.6, into packet.

RL.11- Complete a writing exercise in which
12.13, students convert a previous exercise
W.11- written in 1st person to 2nd person.
12.3.,
W.11-
12.4,
W.11-
12.5.,
W.11-
12.12
RL.11-
12.1,
RL.11-
12.2, Facilitate discussion over advantages
RL.11- and disadvantages of 3rd Person
12.3, Limited using Unraveling packet.
RL.11- Review story elements (character, plot,
12.4, setting, etc.) over 3rd Person Limited
RL.11- story.
Formal (Written In-class reading, whole class discussion, group
12.6, Discuss possible advantages and
4 11/02 RI
RL.11- disadvantages of 3rd person limited.
Advantages/Disadvant pairing/discussion, one-on-one engagement during
ages) writing exercise
12.13, Record advantages and disadvantages
W.11- into packet.
12.3., Complete a writing exercise in which
W.11- students convert a previous exercise
12.4, written in either 1st or 2nd person into
W.11- 3rd person limited.
12.5.,
W.11-
12.12
RL.11- Facilitate discussion over advantages
12.1, and disadvantages of 3rd Person
RL.11- Limited using Unraveling packet.
12.2,
Review story elements (character, plot,
RL.11-
setting, etc.) over 3rd Person
12.3,
Omniscient story.
RL.11- Formal (Written In-class reading, whole class discussion, group
Discuss possible advantages and
5 11/03 RI 12.4,
disadvantages of 3rd person omniscient.
Advantages/Disadvant pairing/discussion, one-on-one engagement during
RL.11- ages) writing exercise
12.6, Record advantages and disadvantages
RL.11- into packet.
12.13, Complete a writing exercise in which
W.11- students convert a previous exercise
12.3., written in any of the previous exercises
W.11- to 3rd Person Omniscient.

12.4,
W.11-
12.5.,
W.11-
12.12
SL.11-
12.1,
RL.11- Administer Post-Assessment
Formal (POV
12.3., Students will read examples out loud.
6 11/06 RI
Discuss the POV presented and its
Assessment)/Informal In-class reading, whole class discussion
RL.11- (volunteered material)
12.4, effectiveness.
RL.11-
12.5
7
8
Etc.
Summative Assessment: POV Assessment
Table 2.1 Instructional Design Unit Plan

T- Lesson integrates technology; R- Lesson uses reading strategies; I- Lesson demonstrates integration of content across and within content fields
Table 2.2: Narrative Description of Pre-assessment, Formative Assessments, and Summative Assessment (limited to 2 pages)
Which
objectives Identify how the assessment will be
Describe the assessment to be Explain rationale for choosing
II. D, H, and K does this scored and/or the criteria to be
used this assessment
assessment used for evaluation.
address?
POV Assessment covering four
This assessment is designed to test
Points-of-View, including 1st person, All three parts will be scored
foundational knowledge of POV as it
Pre-Assessment 2nd person, 3rd limited person, and individually, collected, averaged, and
applies to fiction, the knowledge of W.11-12.4
(Diagnostic) 3rd person omniscient, by focusing used as a baseline for post-assessment
which is integral to the writers story
on creating, matching, and information.
and its effectiveness.
completing concepts.
This assessment is designed to test Students will be given credit for
One exercise of the students W.11-12.3
the effectiveness of instruction on a completed work, though any who show a
Formative Assessment choice will be collected, read for W.11-12.4
creative level, as well as to, lack of understanding of POV at this
- Informal content, and evaluated for POV W.11-12.5
inadvertently, probe student time will be met with to reinforce
consistency. W.11-12.12
preferences and technique. concept.
This assessment is designed to Students who have completed the packet
All student Unraveling Point-of- provide students with the material satisfactorily will be allowed to use it as
View packets will be reviewed they will need to successfully they see fit during second half of class.
Formative Assessment RL.11-12.1.
upon the completion of the first complete the post-assessment, as Students who have not will go over
- Formal RL.11-12.2
half of each class to ensure well as a reference point for any material with the teacher during second
concept retention and access. future writing exercises they will be half to address possible
required to complete. miscommunication or misunderstanding.
POV Assessment covering four
This assessment is designed to test
Points-of-View, including 1st person,
the summative knowledge of POV as All three parts will be scored
Summative 2nd person, 3rd limited person, and
it applies to fiction, the knowledge of W.11-12.4 individually, collected, recorded, then
Assessment 3rd person omniscient, by focusing
which is integral to the writers story averaged to evaluate concept retention.
on creating, matching, and
and its effectiveness.
completing concepts.
Narrative for Instructional Design

II. E.
The lessons are sequenced in this manner to build upon student knowledge, so they may learn not only the
various POV advantages and disadvantages, but also identify their own preference, which they will put into
practice. Each POV is more technically difficult than the last, so each day should present a new and unique
Why are the lessons sequenced in this
challenge, not to mention a significant learning opportunity. For those students who have a strong
manner? foundational base, the stories read in class and created on their own time will provide adequately
challenging. For those who have a less strong foundation, reading in class and group discussion will
provide a solid background upon which they may rely.
II. F.
What learning strategies were incorporated Guided Reading, Brainstorming, Fiction Prompts, Group Discussion, Whole Class Discussion, Text
into this unit? Review, Group Pairing, and One-on-One Instruction.
In all cases, the instructional strategies and activities were designed to coordinate with an improved
How do the instructional strategies/activities understanding of the core material but also, and perhaps more importantly, to allow for diverse student
address the learning objectives for this unit? interests and learning styles. In essence, students were given constructive freedom with which to engage
with the presented material and to form their own conclusions regarding preference and effectiveness.
II. G.
When evaluating the strengths and weaknesses of one of the given passages, students will be required to
How will critical thinking and problem extrapolate these components from the text itself. In the second person excerpt, for example, a disadvantage
that the student might identify is the difficulty in sharing an experience in a way that feels genuine to the
solving strategies be implemented? Give reader. When I was in the sixth grade, I shaved my head, for example, is an engaging line, but is not a
specific examples of use. universal experience. Students will be tasked with making similar observations for all points-of-view
throughout the unit. Similarly, when asked to convert their previous exercises, students will have to do
more than simply correct the pronouns of their respective protagonists. In order to achieve clarity, students
will have to truly alter their exercises to match the POV format.
II. I.
Explain the reading strategies that will be
used throughout the unit. Give specific Activation of prior knowledge, packet organizer, answer questions (think and search), recognizing story
examples. (Remember that using text is not a structure, summarizing, modeling, guided practice, and application.
reading strategy)
How will technology be integrated within the
Prior to the unit, the assessments, lessons, and packets were all produced digitally and printed. Pictures of
unit? Explain both teacher use and student
subsequent material was also taken as necessary to show reproductions of student work.
use.
As this is a Creative Writing class, both the text encountered as well as the unit plans design account for an
How does the unit demonstrate integration of
improved understanding of English as a content area, not to mention an enhanced understanding of ELA
content across and within content fields? core standards.
II. J.
What specific adaptations or differentiated
activities were used to accommodate In-class reading, whole class discussion, group pairing/discussion, and one-on-one engagement.
individual learning needs for the whole class?
What specific adaptations or differentiated Students within the sub-groups were evaluated in the same manner, but given more attention during one-
on-one opportunities provided they displayed a lesser understanding of the days lesson. This largely
activities were used to accommodate
included identifying text within excerpts and reinforcing the main advantage or disadvantage of the given
individual learning needs for the identified POV. Additionally, students within the sub-groups were paired with those who performed well on the pre-
sub-groups / students? assessment, to aid in concept understanding in a peer-to-peer setting.
Provide a copy of two complete detailed lesson plans in Appendix B.

III. Teaching and Learning
A. Narrative: Daily Teaching Reflections (limited to 4 pages)
Day 1: The first day of this lesson came immediately following an intensive unit on poetry and a brief foray into a series of stories I thought
students should encounter. The students responded well to the story I chose from outside the Literature book, a story we read in class and then
discussed. However, it seemed that requiring the reading to be done as homework simply did not work for many of the students who, after a unit of
poetry (in which poems were read outside of but also in class), were not motivated to do the work. As such, I very much looked forward to this
day, as it would be a break from the often-stilted discussions of the previous few days (in which a few students dominated conversation while I
tried to direct student attention towards the story elements I thought were most applicable and relevant). I began the class by administering the
POV pre-assessment, to the audible discomfort of many students, most of whom had yet to see a test in this class and had not expected to. When I
explained the tests purpose (and its lack of impact on grades), however, students settled and completed it without delay. I collected the tests before
lunch. After lunch, I went on to pass out both the Unraveling and POV Example packets. As I did so, I encouraged students to look through them
and to ask any questions they might have. The questions I received varied, but amounted to two main ideas: what would we be doing, and would
there be any homework? I explained that we would be learning about POV by reading stories in class and then analyzing them using the
Unraveling packet, and that, no, there would be no homework. Except, I clarified, that at the end of the unit students would be required to read one
of their exercises aloud. I knew from previous experience that there were more than a few students who preferred not to do this, as our writing
exercises are often insufficient for them to be completely proud of what they have created, so I mentioned that those students who felt
exceptionally strongly about reading something worthwhile might take extra time at home to tweak their work. Students seemed a little dissatisfied
with this arrangement, but I was not in the least. I find I enjoy stretching their perceived limitations and requiring them to do more than they feel
like doing. Builds character. And, besides, because I want them to improve their editing and revision skills, this could prove advantageous in the
long run.
Day 2: Today is the first day of the unit in which we got down to the finer points of what POV is and how it functions. After reviewing the tests
from the night before, I knew that First Person, which would be the focus of todays lesson, was easily the most well-known POV and most
familiar to all the students. I also knew who my sub-groups were and how I hoped to gauge their improvement. Additionally, I recognized that my
prediction of this being the case meant that using First Person on the first day would prove most advantageous, as it meant the likelihood of
building upon prior knowledge and engaging the most students in the process. So, after selecting a volunteer to read the first story from the packet,
I began rather enthusiastically by asking students to tell me about the effectiveness, or ineffectiveness, of the story. Students responded largely in
favor of the story, which is a compelling narrative about a girl whose best adolescent friend had a heart abnormality that let it beat on the outside of
her chest. I was very pleased by the analysis of the story, and even more so by the manner in which students narrowed in on POV. Students
discussed its presence (the I perspective), as well as the tone this perspective offered the story. I challenged them to look at how the story ended,
with the narrator significantly removed from her friend in space and time, and to tell me how that affected their understanding of the work. From
there, we went on to fill out the packet, first in small groups, then as a class. After lunch, I instructed students to look at the Fiction Prompt list
given to them the previous week and to select one of the prompts and write a short scene in First Person. Then I went around and reviewed the
packets to make sure students had understood the advantages and disadvantages of First Person and accurately notated them. This was successful,
which was unsurprising given the fact that students had already displayed an aptitude for this particular POV.
Day 3: Today we reviewed Second Person POV, which is nominally the POV that the most students had the most difficulty identifying and
analyzing. This is unsurprising, of course, given that it is the least frequently used of all the POVs, not to mention the least taught. I knew going in
that this POV might prove problematic, but thought that students should encounter it sooner rather than later (which for many of them, at this point
in their academic careers, might mean never). A volunteer, different than the day before, read the story to the class. It is an interesting narrative
about a young girl who is fixated on having lost an item in a field of horses and the ramifications of thisso much so, in fact, that she is
completely oblivious to her pedophilic neighbor and his extremely inappropriate actions. As a class we discussed how this obviously disturbing
scene played itself out and the manner in which the POV contributed to our understanding of both the girls state of mind and, simultaneously, the
awkwardness of the moment described. In the packet, we reviewed a piece by Italo Calvino in which the narrator walks through a bookstore
looking for a book and avoids various sections of books for various true, but humorous, reasons. Because I had a visitor in the form of my
supervisor sitting in that day for evaluation, I made him read it aloud to the class. Because participation. Next, I split them into groups and had
them record the possible advantages and disadvantages, which I reviewed when they returned and began their exercise (to re-write their First
Person scene in Second Person). I noticed a few discrepancies in language or meaning and addressed those students individually by having them
explain the concept to me, which we then reworked so it made sense according to what they thought, as opposed to what they had written down. In
most cases I found that students had simply been unfamiliar with Second Person, and I believe that, after todays lesson, students will find Second
Person much easier to identify and evaluate.
Day 4: Today is the first of two days in which we will focus on Third Person. Third Person is necessarily divided into two parts: Limited and
Omniscient. The former, which was todays focus, is the most common form that students have encountered and likely will encounter in literature.
As such, I tried to choose a story that operated more as an independent scenea young woman reflecting on a young man asleep on her couch,
who wakes up and speaks to her. This, I felt, would help students have a better understanding of how a scene could be written to include brief,
momentary flashbacks that round out character. This is, in fact, what we discussed after a new student volunteer read the story out loud to the class.
Students were a little annoyed by the brevity of the piece and the questions it lefta feeling I encouraged because I wanted them to see how
frustrating it can be as a reader to not be told everything we want to know in a story. I used this as a teachable moment, essentially, by indicating
what information we might have been given to give us a better sense of what was happening. Students made suggestions and together we discussed
how that would change the storyspecifically whether or not that would limit the story and render it less interesting. Some thought it would, some
did not. I explained that our preferences as readers often color what we hope I story will or wont include, and, as such, aesthetics are important.
Before leaving for lunch, students were told to convert their second person stories to third person upon returning. However, one student balked at
this and wondered aloud what the point of switching the pronouns was. Struck by the fact that many students might be doing just that, I asked her
to give me her first sentence from her First Person example. She did, and I copied it on the board. While the students were at lunch, I wrote several
renditions of that sentence in various POVs from various narrative distances. When they returned, I walked them through those various changes. I
wanted them to see that simply changing the pronouns would not change the story, and that each POV has the potential to vastly change what a
story tells us, not to mention how that information is conveyed. Students seemed to respond positively to this concept, especially once I clarified
the purpose of the exercises: to determine which POV students found most interesting and most fun to manipulate. While they worked on their
exercise, I went around and reviewed their packets. I realized we had focused a great deal on the example and less on the packet, and spent a few
additional minutes at the end of class asking students to volunteer advantages and disadvantages for Third Person Limited and told students to
record those I found especially applicable.

Day 5: We spent today focusing on the second aspect of Third Person: Third Person Omniscient. This POV is by far the most difficult to use, I
believe, for any but the most experienced writers. However, I believe understanding narrative distance is also integral to the writing process, and
Third Person Omniscient is easily the most effective manipulator of said distance. The story a student read aloud exemplified thisin it, two men
are married and celebrate a series of anniversaries over the course of decades, many of which are described with varying levels of attention and at
various periods in time. The students responded warmly to this piece and its unique, if not experimental, style. I was actually surprised by the
positive reception; I had expected students to find the story interesting, but not for them to find the form (and therefore the POV) so appealing. But
I think students these days are excessively innovative, or at least they wish to be, and the idea that they might freely manipulate time to tell an
interesting story is something that seemed extraordinarily appealing to them. We spent the rest of class before lunch in groups, discussing the
advantages and disadvantages of using this story format, then drew together as a class to combine our opinions and takes. I also pointed out the
Narrative Distance category and discussed, briefly, how the varying levels contributed to our understanding of the character presented. After lunch,
students were tasked with creating their own, innovative exercise based on this format. I offered to let a few students give me the concept of their
original POV scene and offered suggestions of where to take it (one example includes a students scene in which a man watches a woman in her
house from the streetI suggested the student write from the perspective of the man and the woman, alternatively, as in the man thought this
about the girl because this, but the girl was doing that because this and so on). A review of the packets at this point revealed many were filled out
successfully in all categories. Unfortunately, my focus student for sub-group 2 was not present, and had not been for a few days. I worry that she
will fall behind and perform poorly, as a result. On the other hand, those students in my sub-group 2 have completed their packets and seem to
have completed their exercises successfully.
Day 6: Today was the final day of this unit. As a result, I was intrigued to see how successfully the material was received and retained, especially
after a weekend. I administered the post-test with the stipulation that any questions the students got correct would be an extra credit point in their
favor. This, I believed, would encourage seriousness and focus, while discouraging those who might be upset to take a test for actual points in a
class that had not previously implemented tests (of this nature, anyway) into its curriculum. I collected the tests and immediately began having
students read their chosen example from the POV exercises, something I had reminded them about consistently over the course of the previous
week. I focused not so much on discussing the merits of their chosen stories, but the merits of their POV decision. I forced them, in essence, to
defend their choice and to explain to the class what POV they had chosen and why. This, I hoped, would clarify both my understanding of what
they retained and their writing preferences (which is always important when discussing a students work, which I will do in the future). The
examples were interesting and, with the exclusion of one or two students, entirely accurate in their depiction of a given POV and their value as
such. In all, I was so pleased with the scenes that I collected them, so I could review them on my own time. I instructed students to be prepared for
the next days class and the beginning of a new unit.
B. Classroom Management Plan (rules, procedures, preventative strategies, supportive strategies) (limited to 1 page)
Classroom Rules:
1. Be Respectful
2. Come Prepared
3. Do Your Best

Supportive Strategies: As a vast majority of the students are seniors, positive behavior is consistently observed and encouraged. Students are
rewarded for this behavior with acknowledgment and increased likelihood of independent practice opportunities.
Preventative Strategies: Students who fail to adhere to the classroom rules are encouraged verbally, initially, to improve their behavior. If this
proves ineffective, a proximity approach will be employed, followed by a one-on-one conversation/consultation during independent practice that
if necessarywill result in administrative action, should the students actions or words prove excessively inappropriate.
C. Student Interaction and Engagement (Strategies for promoting student to student interaction and student motivation) (limited to 1 page)
Along with group discussion, students will be encouraged to speak up as a class in response to open-ended questions, but also in response to the Unraveling
Point-of-View packet and its associated prompts. Students will also be engaged individually during independent practice. Ultimately, student motivation will
stem from the end of unit reading assignment, which requires students to read their piece aloudan act which will prompt the students to produce the best
version of their completed workand the POV post-assessment, which will include a graded test upon which academic success will be measured and recorded.
D. Student Communication (detailed description of appropriate strategies to encourage student to student communication) (limited to 1 page)
Students will communicate orally with themselves and with myself, but will also be responsible for written communication. In any of those cases, students will
be encouraged to voice their opinion with respect, and to create something that is vivid and conceptually stimulating (while simultaneously adhering to the POV
conventions).
Narrative: Analysis of Assessment

E. Pre-Assessment
Students were, as a whole, divided into three camps: those who firmly grasped POV, those who struggled to
understand or had not yet encountered one or two perspectives, and those who were very unfamiliar with the POV
and its associated concepts. Divided into parts, the test trended in particular ways: Part I was largely completed
successfully, with the majority of the errors falling into the execution of Second Person; Part II had the greatest rate
Overall analysis of results.
of success, although First Person Peripheral, Second Person, and Third Person Omniscient were those that individuals
who did poorly on this section got confused; and Part III, which was easily the most difficult in terms of student
success, suggested that an understanding of the advantages and disadvantages of use (and therefore application)
needed the most attention.

These results suggested that specific objectives needed to be reinforced: the definition and function of Second Person.
Discuss the results in reference to First Person Peripheral, and Third Person Omniscient; the advantages and disadvantages of each POV; and the
the learning objectives. application of said POVs in sentence formats.
Describe how pre-assessment data The pre-assessment data clearly defined a need for a packet that expanded upon the foundational knowledge of the
students. The first packet, an example of stories written in different POVs, would prove most beneficial in terms of
was used to proceed with instruction identifying the POV. The second, which incorporated smaller examples as well as definitions, could be used to
for all students. discern the possible advantages and disadvantages of a given POV.
While all students perform at different levels, the consistent reinforcement of concept between the packets and the
What is the plan to differentiate for independent practice should allow students, either those that progress quickly or those that do not, to achieve at a
all learners? comfortable pace.
F. Formative Assessment
The vast majority of students seemed to fully grasp the concepts presented and, especially after group discussion,
completed the packets with well-considered advantages and disadvantages. Those that struggled to identify these
Overall analysis of results.
were addressed during independent practice. Often the confusion seemed to stem from a lack of attention span or
comprehension skills, both of which were overcome from increased and directed focus.
Discuss the results in reference to I believe students are learning not only POV types, but also engaging with material they might not otherwise have
the learning objectives. found. The example packets seemed especially useful in presenting information (likely because these were done in
class and without distraction), but also included stories that were more contemporary and often proved more
Are students learning what was interesting to students. Students took stances on stories they preferred, which aids in their understanding of their own
intended they learn? preferences, and the Unraveling packet proved useful in compartmentalizing this information.
Reviewing those students who incorrectly completed or failed to complete the packet made it possible to review the
Discuss any adaptations based on the errors that were often discernable in the POV pre-assessment and correct them as they occurred.
results of formative assessments.
Individual and group discussion were required to improve student understanding. While whole class
provided an easy answer for students to record, it failed to display understanding so much as an ability to
Identify differentiation needed to
notate. By incorporating group discussion, students were able to defend themselves to their peers and
help all students meet the goals and
evaluate each others ideas. When even this proved insufficient (some students find socializing and voicing
objectives of this unit.
their opinion difficult even in this format difficult), individual (one-to-one) attention was given to reinforce
concept understanding.
G. Summative Assessment

The summative assessments data revealed a very significant improvement in all scores across the board. The
averages improved dramatically in all three categories, andmost importantlydisplayed an improved conceptual
What did the disaggregated data of understanding of POV types, POV usage, and POV advantage and disadvantages. Within the confines of Sub-Group
the assessment reveal? 1, it is clear that the improvement was statistically significant (almost to an ideal point). While Sub-Group 2 was less
successful, the improvement is, in terms of percentage, quite significant. In all, I am very pleased with the results of
this assessments data shift and what it suggests about student performance/understanding.
Again, the data suggests an overall improvement almost to the point of absolute concept retention. Individually, this
Discuss the results in reference to meant that students had a much firmer grasp of POV types, POV usage, and POV advantages and disadvantages.
the learning objectives.
While 33% of the students failed to get a perfect score on Part III on the assessment, this was the only category in
which students showed any diminished capacity and could be attributable, largely, to the difficulties of rendering
Did all students learn what was advantages and disadvantages of each POV in ones own words. Many of the errors that contributed to a slight
intended they learn? Explain. deduction came from the lack of clarity in terms of meaning (often too vague). While technically accurate, the
response because is it harder, for a Second Person disadvantage, fails to accurately reflect the in-depth responses
recorded on the Unraveling packet.
Provide a copy of pre-assessment document and the corresponding scoring key/rubric in Appendix C.
Provide a copy of one formal formative assessment document and the corresponding scoring key/rubric in Appendix C.
Provide a copy of one informal formative assessment document and the corresponding scoring key/rubric in Appendix C.
Provide a copy of the summative assessment document and the corresponding scoring key/rubric in Appendix C.
H. Visual Representation of Disaggregated Data

Chart/Table/Graphs of disaggregated data for the Pre-assessment should be included in Appendix C.
Due to the varied nature of data collected by the teacher candidates, each candidate is asked to create a chart/table/graph that includes data for
the Whole Class, Subgroup, and Focus Students. Title the table/chart/graph and use labels to accurately portray the data.
Chart/Table/Graph of disaggregated data for the Summative Assessment should be included in Appendix C.
Due to the varied nature of data collected by the teacher candidates, each candidate is asked to create a chart/table/graph that includes data for
the Whole Class, Subgroup, and Focus Students. Title the table/chart/graph and use labels to accurately portray the data.

IV. Self-Evaluation and Reflection
A. Narrative description of Successful Activities and future implications
Based on the analysis of all the assessment

Give more than one reason for each of the successes identified.
results, identify TWO learning objectives
from the unit students were most successful.
Objective 1: W.11-12.4 Produce clear and Both in terms of the Unraveling packet as well as in the student exercise examples, I believe students
coherent writing in which the development, produced writing that was not only of sufficient quality to meet this objective, but exceedingly excellent in
organization, and style are appropriate to task, terms of producing writing that aligned itself to the POV focus of the unit; students engineered specific
purpose, and audience. advantages and disadvantages as well as manipulated one perspective to convert it to another.
Objective 2: RL.11-12.3 Analyze the impact of

the authors choices regarding how to develop Again, in both the packet and in their own work, students displayed excellent analytical skills. In order to
and relate elements of a story or drama. effectively evaluate the advantages and disadvantages of a given POV, students were required to analyze
the given story, a process which often entailed critical thinking. Similarly, when evaluating their own work,
students had to make conscious decisions regarding the effectiveness of their POV in terms of preferences
and audience.
Discuss at least TWO things to do differently in the future to extend these successes to continue students academic growth.
In the future, I believe the best course of action would be to implement the bite-size material strategy into every component of creative writing. While this method
was incredibly successful, it also showed me that students respond especially well to focused and directed reading. Whether this is due to their general apathy, I
cannot tell, but I do see a significant improvement in performance based on giving them packets with directions and exercises the same day as the material is
covered. In a way, it is as if this method of instruction provides an additional layer of enthusiasm that students seem to respond especially well to. So I would focus
on providing more contemporary stories in packet form and reading them aloud in class, as well as packets detailing the specific fictional elements I hoped they
would learn.
B. Narrative description of Least Successful Activities and future implications

Based on the analysis of all the assessment
Give more than one reason for each of the least successful objectives identified.
results, identify TWO learning objectives
from the unit students were least successful.

Objective 1: RL.11-12.5 Analyze how an While I believe this was incorporated in an offhand fashion while analyzing POV, it is my belief that I
author's choices concerning how to structure failed to engage students in two aspects of this objective: assessing aesthetics and analyzing structure. In
specific parts of a text contribute to its overall some ways, an analysis of POV accounts for both, but the POV is only a part of the overall aesthetics and
structure and meaning as well as its aesthetic structure, and therefore should receive more consideration. It is possible, however, that a consistent
impact. reinforcement of this objective while analyzing the same work while focusing on other story elements (plot,
setting, character, etc.) might account for this, cumulatively.
Objective 2: W.11-12.12 Write routinely over
extended time frames (time for research, Again, while I incorporated daily writing in the form of exercises, the times were not varied, and therefore
reflection, and revision) and shorter time frames only a part of this objective was fulfilled. Fortunately, as a whole, the fiction unit (which is 9 weeks long),
(a single sitting or a day or two) for a range of allows students both time to write exercises as well as to write whole short stories. In the end, this objective
tasks, purposes. simply needs more time to fulfill in its entirety.
Discuss at least TWO things to do differently in the future to improve students performance.
In the future, I would do my best to incorporate an open-forum for discussion that relied more exclusively on student participation. While this may prove difficult,
especially given the maturity and enthusiasm of the given students, it is my hope that fostering that level of discussion would aid students in finding their voice and
determining their creative preferences. As it stands, I believe they have opinions, but seem cowed somehow and do not feel like expressing themselves on the level
Id hoped they would. In the same fashion, I would like to provide better and more engaging short story examples in the future. The literary examples we have in
our books here are delightful and powerful, but not contemporary and, often, not aligned with student preferences. As such, I would prefer to gather contemporary
works by authors who tackle subjects that students find especially interesting (in ways that would show them how to succeed when writing within that genre or
style). I do not expect students to write like Flannery OConnor or John Cheeverthere are MFA graduates without that capability (mores the pity). However, if a
student could channel the humor or imagination of George Saunders, or the innovative stylistic approach to a bank robbery found in Tobias Wolfes A Bullet in
the Brain, I would be very pleased.
TABLE 4.1 Communication Log
Follow Up
Method of Result or Impact on (if
Date Person Contacted Contact Reason for Contact Instruction necessary)

Follow Up
Method of Result or Impact on (if
Date Person Contacted Contact Reason for Contact Instruction necessary)
Add rows as needed
C. Narrative Reflection on Impact of Communications (limited to 1 page)
N/A
D. Narrative Reflection on Future Professional Development (limited to 1page)
Identify at least TWO aspects of instruction that could be improved. What specific professional development opportunities/activities will
Explain reasoning. help to acquire that knowledge or skill?
Aspect 1: Fostering student relationships despite a natural reticence on the part Honestly, I hope that developing these relationships will be a natural byproduct
of the student (for whatever reason). of having consistent control of a classroom for an extended period and a
willingness to engage students who do not ordinarily speak up. Ideally, a good
relationship with students will emerge from one-on-one engagement as well as
activities such as parent-teacher conferences and/or participation in sporting
events.
Aspect 2: Managing student discussion in such a way that they end up doing This is not something I can speak to in terms of specifics. I hope to read more
the vast majority of the speaking (Socratic questioning). on the subject, preferably by experts such as Jon Romano or Penny Kittle, both
of whom have excellent advice for teaching writing effectively. Edward Burke
is another guru from whom I hope to learn methods to improve student
participation.

REFERENCES
Pittsburg High. Demographics. N.p., n.d. Web. 17 Nov. 2017.
"Pittsburg USD 250." Overview. KSDE. N.p., n.d. Web. 17 Nov. 2017.

APPENDIX A
District Demographic Data
10.4
16.93
3.98
68.9
White/Caucasian African American Hispanic Other
Building Demographic Data
10.23
15.34
4.9
69.53

Classroom Demographic Data
9
4.5
9
77

APPENDIX B
11/01/17 CW
Subject: Creative Writing
Grade: 11/12
Unit: Fiction
Lesson Title: Second Person
Learning Objectives: RL.11-12.1, RL.11-12.2, RL.11-12.3, RL.11-12.4, RL.11-12.6, RL.11-12.13, W.11-

12.3., W.11-12.4, W.11-12.5., W.11-12.12
Students will be able to identify the characteristics, advantages, and

Objectives disadvantages of second person in fiction.
Students will compose their own second person examples.
Materials & Point-of-View Story Examples Packet

Resources Unraveling Point of View Packet
Anticipatory Set Choose student volunteer to read 2nd Person Story Example
1st Person advantages/disadvantages

Input (What students Previously encountered fiction from Literature textbook as well as past
already know.)
written exercises (using compiled prompts)
Model (How will you Facilitate discussion over advantages and disadvantages of 2nd Person
demonstrate skills?) using Unraveling packet.
Review story elements (character, plot, setting, etc.) over 2nd Person story
(What was interesting about it? What were the authors intentions? What
Check for was unique to this story compared to those we have read so far? Did you
Understanding like or dislike it, and why?)
Discuss possible advantages and disadvantages of 2nd person. (What are its
benefits? Its drawbacks?)
Record advantages and disadvantages into packet.

Guided Practice Complete a writing exercise in which students convert a previous exercise
written in 1st person to 2nd person.

Things to Consider: Begin thinking about which example you will share
with the class on Monday and, most importantly, the sort of story you
Closure
hope to write for the class. As we continue through POV, try to decide
which perspective will work best for you.
Independent Written exercise example

Practice Rough Draft of short story
11/03/17 CW
Subject: Creative Writing
Grade: 11/12
Unit: Fiction
Lesson Title: Third Person Omniscient
Learning Objectives: RL.11-12.1, RL.11-12.2, RL.11-12.3, RL.11-12.4, RL.11-12.6, RL.11-12.13, W.11-

12.3., W.11-12.4, W.11-12.5., W.11-12.12
Students will be able to identify the characteristics, advantages, and

Objectives disadvantages of third person omniscient POV in fiction.
Students will compose their own third person omniscient examples.
Materials & Point-of-View Story Examples Packet

Resources Unraveling Point of View Packet
Anticipatory Set Choose student volunteer to read 3rd Person Omniscient Story Example
1st, 2nd, 3rd Person Limited advantages/disadvantages

Input (What students Previously encountered fiction from Literature textbook as well as past
already know.)
written exercises (using compiled prompts)
Model (How will you Facilitate discussion over advantages and disadvantages of 3rd Person
demonstrate skills?) Omniscient using Unraveling packet.
Review story elements (character, plot, setting, etc.) over 3rd Person
Check for Omniscient story (What was interesting about it? What were the authors
Understanding intentions? What was unique to this story compared to those we have read
so far? Did you like or dislike it, and why?)

Discuss possible advantages and disadvantages of 3rd Person Omniscient.
(What are its benefits? Its drawbacks?)
Record advantages and disadvantages into packet.

Guided Practice Complete a writing exercise in which students convert a previous exercise
written in any person other than 3rd Person Omniscient and convert it.
Things to Consider: Finalize plans for which example you will share with
the class on Monday and begin seriously reflecting on the story you hope
Closure
to write for your First Two Pages assignment. As we continue through
POV, try to decide which perspective will work best for you.
Independent Written exercise example

Practice Rough Draft of short story

APPENDIX C
Pre/Post-Assessment:
Point-of-View Test
Part I. Write a sentence in 1st, 2nd, and 3rd person.
1st person:
2nd person:
3rd person:
Part II. Match the term to its definition.

_____ First Person a. story is told by a narrator who is
the focus of the story using I.
_____ First Person Peripheral
b. story told to another character or
_____ Second Person to the audience using you.
c. story in which the writer records
_____ Third Person Limited
feelings and thoughts of only one
_____ Third Person Omniscient character using he or she.
d. story is told by a narrator who is a
minor character or otherwise not a
major player using I.
e. story in which the writer may
record the feelings and thoughts of
as many or as few characters as
desired.
Part III. Fill-in-the-blank.
One advantage of using 1 st person is ______________________________________________________________
_______________________________________________________________________________________________________.
One disadvantage of using 2 nd person is __________________________________________________________
________________________________________________________________________________________________________.
Third Person Omniscient is useful when a writer wants to _______________________ ______________
________________________________________________________________________________________________________.

Key:
Part I.
1. I
2. You
3. He/She/They
Part II.
_A_
_D_
_B_
_C_
_E_
Part III.
1. closeness/rich voice/direct/most familiar
2. oppressive/confusing/unwieldy
3. relate the experiences of more than just one character
Formal Assessment Document
Unraveling Point of View

Point-of-View (POV) is often the first major dilemma of fiction craft faced by beginning writers. Often our
early attempts at stories are go awry due to POV errors: either we choose the wrong point of view for a
story, or we make obvious and unnecessary shifts in point of view that confuse the reader. Therefore, its
important that you begin with a sound understanding of point of view and a working knowledge of both
the advantages and disadvantages of each point of view choice you make.
First Person (I)

story is told by a narrator who is the focus of the story.
Example:
If you really want to hear about it, the first thing youll probably want to know is where I was born, and what my lousy
childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap,
but I dont feel like going into it, if you want to know the truth.
Advantages Disadvantages

First Person (Peripheral)
story is told by a narrator who is a minor character or otherwise not a major player.
Example:
And as I stood there brooding on the old, unknown world, I thought of Gatsby's wonder when he first picked out the green
light at the end of Daisy's dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he
could hardly fail to grasp it. He did not know it was already behind him, somewhere back in the vast obscurity beyond the city,
where the dark fields of the republic rolled out under the night.
Second Person (you)

story told to another character or to the audience.
Example:
In the shop window you have promptly identified the cover with the title you were looking for. Following this visual trail, you
have forced your way through the shop past the thick barricade of Books You Haven't Read, which are frowning at you from
the tables and shelves, trying to cow you...And thus you pass the outer girdle of ramparts, but then you are attacked by the
infantry of Books That If You Had More Than One Life You Would Certainly Also Read But Unfortunately Your Days Are
Numbered. With a rapid maneuver you bypass them and move into the phalanxes of the Books You Mean To Read But There
Are Others You Must Read First, the Books Too Expensive Now And You'll Wait Till They're Remaindered, the Books ditto
When They Come Out in Paperback, Books You Can Borrow From Somebody, Books That Everybody's Read So It's As If You
Had Read Them, Too.
Third Person Limited* (he, she)

writer records feelings and thoughts of only one character.
Example:
There is pride, too, thoughpride that he has done it alone. That his daughter is so curious, so resilient. There is the humility
of being a father to someone so powerful, as if he were only a narrow conduit for another, greater thing. Thats how it feels
right now, he thinks, kneeling beside her, rinsing her hair: as though his love for his daughter will outstrip the limits of his
body. The walls could fall away, even the whole city, and the brightness of that feeling would not wane. The drain moans; the
cluttered house crowds in close.
Third Person Omniscient (he, she)

writer may record the feelings and thoughts of as many or as few characters as she desires.
Example:
Natashawith her quick instinct, had instantly noticed her brother's [Nicholas] condition. But, though she noticed it, she was
herself in such high spirits at that moment, so far from sorrow, sadness, or self-reproach, that she purposely deceived herself.
"No, I am too happy now to spoil my enjoyment by sympathy with anyone's sorrow," she felt, and she said to herself: "No, I
must be mistaken, he must be feeling happy, just as I am."
"Now, Sonya!" she said, going to the very middle of the room, where she considered the resonance was the best.
Having lifted her head and let her arms droop lifelessly, as ballet dancers do, Sonya, rising energetically from her heels to her
toes, stepped to the middle of the room and stood still.
"And what is she so pleased about?" thought Nicholas, looking at his sister.
Other Considerations:
Narrative Distance: Much like a movie cameraman, a writer can choose how far or how close to examine
the events in a story, the characters and the characters feelings.
1. During the winter of 1991, a large man stepped out of a doorway and into a snowstorm and cursed the
falling snow. (far)
2. Bernard G. Bentley the Second had never much cared for snowstorms. (medium)
3. Bernie hated snowstorms. (closer)
4. God how Bernie hated these damn snowstorms. (close)
Direct Interior Monologue As the name implies, this technique requires that a characters thoughts be
stated directly into the story. (1.) Quotation marks can be used, as they are with dialogue, but using
thought instead of said. (2) Or thoughts can be placed without quotation marks (once its been
established that a character thinks something, the writer can create an extended meditation). (3)
Thoughts can be put into italics, a technique used commonly by genre or popular fiction writers.
1: No, Id better not speak of it, he thought, when she had gone in before him. It is a secret for me alone, of vital importance
for me, and not to be put into words Tolstoy
2: All these nice people with their brave stories, he continues, Dont you feel consoled, knowing were all in the same boat,
that were all in this together?
But who on earth would want to be in this boat? the Mother thinks. This boat is a nightmare boat. Look where it goes.
Lorrie Moore
3: Ill be perfectly frank with you, [Jack]. Albert Shockley is a powerful man with a large interest in the OverlookHe wants
you hired. I will do so. But if I had been given a free hand in the matter, I would not have taken you on.
Jacks hands were clenched tightly in his lap, working against each other, sweating. Officious little prick, officious little prick,
officious little prick
I dont believe you care much for me, Mr. Torrence. Stephen King
Informal Assessment Documents
Charts for Pre-Assessment
Whole Class
PRE-ASSESSMENT
Above Average Below Average
13
13
11
PART 1 (2.3/3 AVERGAE) PART 2 (4.05/5 AVERAGE) PART 3 (1.9/3 AVERAGE)
Sub-group 1
Sub-group 1 Pre-Assessment Scores

3.5
2.5
1.5
0.5
0
Part 1 (out of 3) Part 2 (out of 5) Part 3 (out of 3)
Student 1 Student 2 Student 3

Charts for Post-Assessment
Whole Class
POST-ASSESSMENT
Above Average Below Average
20
18
14
7
3
PART 1 (2.8/3 AVERAGE) PART 2 (4.9/5 AVERAGE) PART 3 (2.6/3 AVERAGE)
Sub-group 1
Sub-group 1 Post-Assessment Scores

6
0
Part 1 (out of 3) Part 2 (out of 5) Part 3 (out of 3)
Student 1 Student 2 Student 3
Sub-group 2 (Pre-and Post-Assessment)

PRE-AND POST-ASSESSMENT SCORES FOR
SUB-GROUP 2
Pre-Assessment Score Post-Assessment Score
3.5
2.5
1.5
0.5
0
PART 1 (OUT OF 3) PART 2 (OUT OF 5) PART 3 (OUT OF 3)
Additional Documents
Point-of-View Story Examples

First Person
Ramona
Sarah Gerkensmeyer
Ramona used to say, When its on the outside I feel self-conscious.
We did overnights at her house that summer. After finishing the sixth grade, we had stopped calling them
sleepovers. Ramona had a full-sized bed, but I still felt scrunched up next to her when we were in it. We didnt
press into each other while we slept, but I think I felt pushed up against her because of what I knew about her
heart. About how sometimes it flipped and somersaulted and somehow ended up on the outside of her skin,
resting there on the wrong side of her body for a few seconds like a wild bird afraid to fly away but so eager to
do it.
When my family moved here, I was afraid I wouldnt make a single friend.
I told Ramona this while we were sitting out on her front steps at dusk, sucking on popsicles and bored out of
our minds. We didnt say it, but we were waiting for something big to happen. We were waiting for a boy to
call and ask for one of us. Or better yet: for a boytwo of them!to pass by Ramonas house, trying to slouch
their shoulders and barely nod while glancing our way. But half of the summer was dead already and neither of
those things had happened.
I thought meeting new people would be hard, I said, chewing on my splintered popsicle stick. And then bam,
I met you.

This wasnt exactly true. I felt the urge to exaggerate things when I was around Ramona. I found myself making
up little lies. I was the only person in the entire world who knew about her heart thing. I felt like I owed her
something. I had nothing to confess, and so I made things up.
Im afraid of being abducted by aliens, I lied.
I shoplifted a bag of peanut M&Ms in the checkout line, standing right next to my mom, I lied.
Sheila Hastings is stupid. Her bangs are ugly, I lied. And I kicked her once in the hallway on the way to
lunch.
That summer, three bad things happened. Matt Gowens dad died of cancer. Tracy Turners dog Velvet got run
over by a minivan. And then, at the beginning of August, Troy Bensons little brother climbed into the baby
pool and started to drown in only a few inches of water. The paramedics had to do CPR, and we all decided
hed be messed up forever after going through something like that.
I wonder what it would be like if I started jogging, Ramona said one night while we were sitting on her bed,
painting our toenails lime green.
Thats all she said, but I knew exactly what she meant. Some girls our age had started jogging around the
neighborhood in packs. It was the girls who had started to develop. They didnt jog because it was healthy.
They jogged so they could wear tight, neon-colored exercise clothes, the sudden swelling on their chests
pushing out against bright elastic, tugging them forward along the streets of our neighborhood and into the rest
of their lives. I knew that Ramona wanted to jog and see if her heart would push itself out while she was panting
and sputtering. Shed have a bulge on her little chest then. Who cares if it was only on one side? Imagine being
with a boy, in a basement or a closet, and then that sudden beating on the outside of your chest. Imagine that he
wouldnt be grossed out at all. Imagine that hed let out a moan, some unbelievable sound, because of the way
your body was being right there in front of him. Ramona never confessed to any daydreams like that, but I knew
she had them. I had them for her.
I practically lived at Ramonas house that summer. Almost every night I was stretched out there on her bed,
waiting for sleep and feeling the humidity press into every part of me like a secret I figured someday I might
identify and then maybe understand.
See, she said the first time she showed me. Its like this.
Ramona pulled her tank top up and there it was: a heart beating on the outside of her chest. I didnt scream like I
thought I would. I didnt cover my eyes or gag or laugh uncontrollably. I just looked at it. I nodded my head.
Okay, I said. And then I blinked or glanced at her face, and when I looked again it was already gone. She
didnt have her bra on. We had each bought the same size and the same style at the beginning of the summer,
even though neither of us needed one yet. We hardly wore them when it was just the two of us lazing around
her house, waiting for the world to happen. Ramona kept her tank top pulled up even after her heart had
disappeared. I stared at her chest. It was creamy and bare and ordinaryno trace of the bloody, glistening
muscle that had been galloping there only seconds before.
I miss Ramona. Its a simple kind of missing. Its the way vague regret and longing pool in your stomach when
you shouldnt be feeling anything at allwhile pulling laundry out of the washer, while walking the dog, while
reaching for something in the shower with your eyes squeezed shut. The two of us were careless and let
whatever we had dissolve into a leftover pang of almost-nostalgia. Who knows where she is now?
Turn your stomach inside out, she said one night.
I was almost asleep. I opened my eyes up to the dark.
What?
I mean, for real, she said. There was that mean, annoyed flip that sometimes came out at the ends of her
sentences.
Like this, she said. She turned on the little lamp next to her bed, and her heart was there again, beating and wet against
the delicate V of her unbuttoned nightgown. The openings and valves and the whole mess of it sucked at the air like an
angry, stranded fish.
I think about that heart late at night, my husband pressed here in bed next to me. I try to reach back into my childhood and
pin lanky, eleven-year-old Ramona with eating disorders and depression and the hungry, open mouth of loneliness. But
really, it was just that thing with her heart. Thats all. And Im jealous. I still do itlie here in bed and try to push things
outside of myself. Im jealous of any woman who has ever given birth. Think of itsomething being forced out like that,
gravity or fate or whatever it is pulling away at you like a stubborn, certain thing.
Second Person
Hook
Danielle McLaughlin
You wake to the squabbling of pigeons, the scratch of their claws on the window ledge. You wake, but keep
your eyes tightly shut; it is not yet 7a.m., too early to start seeing things. Your mother stirs in her bed on the
other side of the room. Soon you will hear her moving around the flat as she gets ready for work. You wait until
shes gone, closing the door quietly behind her, and then you jump out of bed. You put on your tartan skirt and
polo neck, the Bay City Rollers bobby socks your aunt sent from Boston, your black shoes. You go down three
flights of stairs and out onto the street. You walk past the grocers, the pub, the church, and the house beside the
church where the priest lives with his housekeeper. Now you can run: down the avenue of big houses, past the
new apartments and the old flats. In the fields by the canal, cowslips wet your legs with their white spit. Grass
seeds stick to the wet, and your legs are like the loaves of bread in the window of Thompsons bakery, dusted
with sesame seeds. Youre headed for the far field to count the horses; youve been counting them for four
weeks and three days.
When you get near, you shut your eyes but keep walking, like a blind person. You climb the gate, measure the
distance to the top of the hill by counting steps. Then you take a deep breath and open your eyes. One, two,
three, four, five. Two palominos, a piebald, two grays. You release the breath. Now you must search for the
hook.
One Saturday, four weeks and four days ago, your mother took you fishing. The people who lived in your flat
before you had left a fishing rod behind. The reel was broken, but your mother said there was no need for a reel,
and anyway youd only get your fingers caught. You took cheese for bait, rolled it into little balls like mrla. At
the canal, your mother lay back on the bank and closed her eyes. Your eyes were on the river, watching for fish.
When you turned to ask if there was more cheese, you saw that one of the horses had come up close and was
snuffling at your mothers hair with his velvety lips. You shouted and he broke away in a gallop, his ears flat,
his hind legs high enough in the air that you could see his hooves, and you jerked the rod out of the water so
suddenly that it caught in briars and the line broke. That was when you lost the hook.
This morning, like all the mornings before, you dont find it. You wonder if it will soften as it rusts, if soon it
will be so soft that it will be harmless, like Mr. Gordon in the ground-floor flat, or if it will be in the wrong
place at the wrong time, like your mothers friend Colette. You walk home, put your copybooks in your
schoolbag, sprinkle sugar on a slice of bread to take for lunch. You wish you didnt need to use the toilet, you
would rather wait until you got to school, but its an emergency. You take the roll of toilet paper from the
cupboard and go down one flight of stairs. Youre only in the toilet two minutes when Mr. Gordon starts
banging on the door. Your mother says that hes supposed to use the ground-floor toilet, but if you tell him that
hell only say that its blocked, like he always does. You pee as fast as you can, and when you open the door
Mr. Gordon looks at you, at your face and your tummy, and down at your legs, and says, What have you done
with my razor blades?
Nothing, you tell him. He is always saying that youve stolen things.
I bet I know where youre hiding them, he says. At the front of your tartan skirt there are two pockets and he
squeezes his hands into them, makes his fingers wriggle back and forth. How old are you? he asks. Nine,
ten? But, before you can answer, he spins you around and puts his hand on your bottom. There are footsteps on
the landing. Mr. Gordon steps away from you and picks up a towel. He rubs it all over his face and neck even
though he hasnt washed himself. Miss Hegarty from the first floor, who usually stays in bed all morning, puts
her head around the door. She frowns. Out! she says. Now! And you think she is talking to you, but she
isnt.
At school, you try to learn your tables, but all you see in your head is a field of dead horses. They have eaten
your fishhook. They are lying on their sides, their tongues hanging out, and there are flies crawling on them, the
flies that feed on dead things and land on your bread when you leave the window open. In death, the horses
have multipliedtheres a whole row of them when you close your eyesand you think it must be like the
loaves and fishes, because there was only one fishhook. Its a miracle, and it isnt fair. Maybe the hook split in
two, like division; maybe it split in three or four or ten. At small break, you go up to Miss Carey in the yard and
say, Miss? How many horses could one fishhook kill?
Whats this about, Lillian? she says, but one of the senior infants falls and cuts his knee and she has to rush
off.
Back at the flat after school, your mother is cross but wont say what about. At teatime, she says, I think we
need to get away, you and me. I think its time for us to move on.
Where? you ask.
Maybe to your Grannys, she says. Or to Aunty Ellen, in Cork.
You drop your fork and your sausage falls on the floor. You tell her that you cant go, that you havent found
the fishhook. She says that shes sick and tired of hearing about the bloody fishhook, dont you have anything
bigger to worry about? But you cant imagine anything bigger than a field of dead horses.
Later, while your mother packs, you push open the sash window above your bed. By moonlight, you inspect the
pigeon droppings on the window ledge. Tonight, they are gray and runny, with a couple of little pink balls. The
pink balls are as beautiful as pearls, and you would like to lift one out, but already a picture is forming. The ball,
you are sure, is the head of someone or something, maybe even the head of someone you know. You leave it
where it is, you dont want to risk it; you are already a killer of horses. Tomorrow you will ask Miss Carey if
fishhooks dissolve in the grass like apple cores and peach stones, and how long it takes for that to happen.
Youll ask her if she wouldnt mind checking on the horses on her way to school. It wouldnt be hard for her to
drive that way in the mornings, to climb the gate. You will explain about counting them. As your mother rushes
about, you consider the moon, notice how prettily it illuminates the pigeon droppings. You wonder what it is
that keeps it up there, and what will happen when it falls.

Third Person Limited
If She Were to Lay Down

Molia Dumbleton
Sarah couldnt help but think that even at the age of twenty-four, Jesse bore the exact shape of a grizzly. He was
bushy-haired and barrel-chested, with thick forearms and a belly like the bulge of an old-fashioned cash
register, stopped short at the belt.
Most days in town, you could find him sitting on the overturned, sun-bleached canoe that had been in front of
the general store for as long as anyone could remember, playing his dads old banjo and making small talk with
the men whod come down to town pretending to need a torque wrench when all they really needed was some
time away from the ferreting attentions of their wives. Jesse could be counted on to offer a cigarette and by the
end of it, the man would feel better, touching the lid of his cap as he shuffled on in to the store, or sometimes
just heading slowly right back to his truck. The ladies just smiled at his compliments. Hey, Jesse, theyd say,
and the tempo of a skirts swish might speed or slow to match up with whatever little riff he plucked out for
them as they passed.
But here he was on Sarahs couch, shirtless and passed out, face down, thick arms stretched out above him, the
rest of him under a sandy old Mexican blanket she normally kept in the back of her car for picnics or trips to the
beach. Prone like that, and flattened out because his gut nestled invisibly down into the cushions, he looked
almost normal sizebut his black, metal-toed boots, lined up tidily next to him, heels tucked up against the
couch corner, were huge. He was one of those men you simply couldnt reconcile with the child version of him
in a family photo, and it was nearly impossible to look at his face now and sketch in the features of the boy he
had been.
He hadnt been a kid when he pulled that baby from the car on fire. People in town were wrong about that when
they always said just a kid, he was just a kid. Hed been nineteen and thats not a kid. Shed known him then,
she supposed shed known him always, and he wasnt. In lots of places she knew about, nineteen was a fathers
age, and maybe thats what made him so able to do it without even hesitating. But whatever was or wasnt in
him that day, a burly kid out front of the hardware store loading peat or chicken feed into your truck, it wasnt
in this soft, sleeping man anymore.
From the doorway, in her mind, she crossed to him and sat on the low table beside him, leaned in, letting the
backs of her fingers run gently down the beard on his cheek, across to where his hair curled at the spot behind
his ear, and up around the back of his neck.
In town, they said he hadnt been able to unbuckle the carseat, had nearly caught fire himself trying, and finally
just took hold and ripped the thing right out of that stupid hot pink car, the whole thing, and the section of seat it
was attached to. One rumor said hed scooped that baby boy right out even though he was already burning, and
when they got to the hospital, Jesse and that baby had been nearly seared together, and the baby had stopped
crying before they even got there.
Jesse must have felt her looking at him, because without even twitching or stretching, he was awake. Eyes open,
bloodshot but clear. Cmere, he said without lifting his head. He pulled an arm down and patted the coffee
table. She hesitated. I always wanted to sleep on your couch, he smiled, then pushed himself up onto his
elbow. She went, she sat. The gentle intimacy of a morning let him touch her leg then, and let her let him, until
he touched the end of the little cotton belt of her dress. She could smell the beach on her old blanket, but beyond
that, what his neck would smell like if she were to rest her face there, and she could guess at the strength he
would put into looping a forearm behind the small of her back, if he ever did. She could also guess at the
softness that would come over him if she were to lay down with him there. She knew about the things that come
out of men when you lie down with them in a cotton dress, when you let them touch your body on the outside of
the dress, not because theres sex there but because theres sadness.
Third Person Omniscient
Like a Bowl in a China Shop

Hilary Leichter
Tradition dictates paper for the first anniversary. Brian gathers all their receipts, to show his husband, Jeff, how
well he has prepared for taxes. Jeff gathers all the tiny paper wrappers from under the cushions of their couch,
to illustrate that they have been sitting on tiny paper wrappers for a very long time. They are in love,
sandwiched on the freshly excavated couch, Brian lying with legs across the lap of Jeff, falling asleep on this
couch, the couch they found on the sidewalk that one summer when it hailed.
The second anniversary is dust, not to be confused with the fortieth anniversary, ashes. Jeff sweeps the
apartment with the broom of Brian, a broom from his parents garage. He corrals the mites of dust, the dust
bunnies, the tendrils, and loosens the lid of a jar for their keeping. Then under the pillow goes the jar, for Brian
to find later that evening, just before he snores himself to sleep. Jeff knows that the dust is made of dry skin,
toenail detritus, dandruff, and gunk from the corners of eyes. He imagines the jar as a collection of their former
selves.
The third anniversary, moss, followed by the fourth, stones, on which it may gather. The fifth, of course,
cardamom pods, accompanied by the pulverization ritual. Brian is pumped for the occasion. Their friends
Stephanie and Mike said that it was their favorite anniversary by far, their house perfumed by the spice for
nearly a year. People buy dozens of packets of pods for Brian and Jeff, for they inspire the devotion of many
friends, pods arriving by the pound, and then sitting in a cupboard, because they cannot find the time to grind it,
until their sixth anniversary, and on through the seventh and eighth and ninth, at which point Brian lies,
disappointed, I hate cardamom. Please, can we throw these away, for the love of God?
But lets not get ahead of ourselves!
Their sixth anniversary is when they think they will have a child. They do not. The child passes through them
like an idea that comes before waking and then slips away. They occupy themselves with lottery tickets, the
accepted gift of year six. Brian wins five dollars.
Sitting on the train, Jeff reads that every cell in the body is eventually replaced by a new cell. After seven years,
he reads, we are made up of entirely different cells than before. We are turned into strangers, again and again.
This is why the seventh anniversary is when you give your partner a stranger, just for a week. Brian and Jeff
enjoy traditions, and they follow them all.
Brians parents die after their own fifty-second anniversary, one right after the other. Brian doesnt cry, but
insists on driving to both funerals. He has not driven a car since high school. He and Jeff clean out Brians
parents garage, the place that used to house their once and current broom. They box up boxes filled with
smaller boxes. Jeff finds gifts from his in-laws bygone anniversaries: the dust, the paper, the set of coffee
spoons Brian gave to his parents when he was still a child, now returning to the giver. The slippers, the hard-
soled shoes. The customary trinket for fifty-two yearsan empty locket on a long, long chain.

On their ninth anniversary, Jeff does not acquiesce to Brians request to throw away the cardamom pods, nor
does he agree to pulverize them just yet. Dont be wasteful, he says.
On their tenth anniversary, Brian reserves a boat, for ten years is usually celebrated at sea. But Jeff has made
other plans. Dont be so elaborate, Jeff says. And you know how I feel about oceans.
Brian sits down on their couch, freshly stuffed with paper wrappers. Who knew that their lives could
accommodate the opening of so many small candies.
Is there something else that would make you happy? Brian asks.
Just get me whatever.
Whatever what?
Like a pen. Like a mug, Jeff says. Like a bowl in a china shop.
Like nothing at all, Jeff adds, hours later from the other room.
The bowl is dainty and handmade, barely big enough to hold a berry. Brian finds it in a store that Jeff loves, and
he wonders about that word, love, the rooms that it holds, the stuff the rooms accumulate, the stuff the stuff is
made of. He leaves the bowl by their bed, next to the jar of dust.
Then the eleventh anniversary, marked by a mammal. Jeff tolerates Brians sloth, then, suddenly, he doesnt.
The twelfth, a gift of a secret. Brian tells Jeff that, sometimes, he loses the ability to read, words falling away
from his memory like comets.
Jeff tells Brian that he has continued to see his stranger, the one they agreed on for their seventh anniversary.
Divorce? Brian asks.
Its justJeff sighsI dont want to start with a whole new list of things.
They skip thirteen so as not to tempt the fates.
On their fourteenth anniversary, they have been brand-new people two times over. Every cell is a reminiscence
and an awakening. They give each other the gift of friendship. Brian bestows his very best friend, Claire, upon
Jeff. Claire is decreed awesome, and now she is Jeffs best friend, too. She gives Jeff a better understanding of
Brian, and they have in common a love of organization, of basketball. Jeff gives his best friend, Gregory, to
Brian. Gregory is solid and kind, and nods exuberantly when Brian confides his fears about Jeff. Claire and
Gregory become great friends with each other, and go for long, marathon dinners, for long walks between
boroughs. They conspire on anniversary gifts for Jeff and Brian. The four of them have breakfast together every
Sunday morning. Sometimes Gregory brings his three nieces; sometimes Claire brings one of her graduate
students.
After one such breakfast, Jeff and Brian make out like teen-agers all afternoon on the couch, a new couch, every
cell replaced.
Fifteen, sixteen, seventeen. Belt buckles, feathers, environmental responsibility. Eighteen, dumbbells, nineteen,
the gift of a new skill. Brian learns to skydive and Jeff learns to watch without feeling afraid.
Claire brings a student who is new to the city to breakfast one week. Jeff and Brian invite her for Thanksgiving.
She sends them e-mails. They help her move into a new apartment. At her wedding, she calls them her parents.
Brian has started to forget more words, other things, too.

Twenty, brand-new coats. Twenty-one, brand-new shoes. Twenty-two, brand-new china, the matching kind.
Thirty, a fire in a fireplace. Forty, ashes from the fire.

Teacher Work Sample

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Your First and Last Name: Cameron Burson

Date Submitted: 11/22/17

District where you completed

Name of School Building

Content Area of your TWS: English/Creative Writing

TWS Unit Topic: Point-of-View

Grade Level of the Classroom

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Table 1.1 Class Contextual Information (limited to 1 page)

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Table 1.2 Student Characteristics for Whole Class (limited to 1 page)

C. Sub- Groups/Students Information

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This group was selected to

This student was selected

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Summative Assessment: POV Assessment

Table 2.1 Instructional Design Unit Plan

Narrative for Instructional Design

Provide a copy of two complete detailed lesson plans in Appendix B.

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A. Narrative: Daily Teaching Reflections (limited to 4 pages)

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Narrative: Analysis of Assessment

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H. Visual Representation of Disaggregated Data

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A. Narrative description of Successful Activities and future implications

Based on the analysis of all the assessment

Objective 2: RL.11-12.3 Analyze the impact of

B. Narrative description of Least Successful Activities and future implications

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TABLE 4.1 Communication Log

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Add rows as needed

C. Narrative Reflection on Impact of Communications (limited to 1 page)

D. Narrative Reflection on Future Professional Development (limited to 1page)

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Pittsburg High. Demographics. N.p., n.d. Web. 17 Nov. 2017.

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District Demographic Data

White/Caucasian African American Hispanic Other

Building Demographic Data

White/Caucasian African American Hispanic Other

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White/Caucasian African American Hispanic Other

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Subject: Creative Writing

Lesson Title: Second Person

Learning Objectives: RL.11-12.1, RL.11-12.2, RL.11-12.3, RL.11-12.4, RL.11-12.6, RL.11-12.13, W.11-

Students will be able to identify the characteristics, advantages, and

Materials & Point-of-View Story Examples Packet

1st Person advantages/disadvantages