The Multigenre Research Paper Unit Plan

c

A UNIT PLAN
O

½Ê Ê
Ê

½Ê
ÊÊÊÊ

½Ê ÊÊ ÊÊÊÊ
c
½Ê ÊÊÊÊÊÊ
Ê
º

½Ê
Ê !ÊÊ"#Ê$!ÊÊ%!ÊÊ$!Ê$!Ê

½Ê
Ê
&Ê
Ê!
ÊÊ
Ê!
Ê#Ê

Ê#ÊÊ
&'Ê

½Ê ÊÊÊÊ ÊÊ& Ê
#
'Ê
½Ê (&ÊÊÊ!Ê ÊÊ
Ê
½Ê ÊÊ!#ÊÊ ÊÊÊÊÊ!
Ê
-

½Ê (Ê)ÊÊÊÊÊ!#ÊÊÊ
½Ê *+ÊÊÊ!
Ê
#ÊÊÊ&ÊÊÊÊ!,Ê
½Ê %
ÊÊÊ!
ÊÊÊÊ!
ÊÊ Ê!
'Ê
Ê

!
" #
The Multigenre Research Project is a way to expose students to writing, literature, and research while
deepening their understanding of a specific topic. The multi-genre paper asks students to see, understand,
interpret, synthesize, and know their subject through multiple genres rather than a traditional or linear research-
based paper. In employing genres as both a lens and a rhetorical tool, the multi-genre research paper asks
students to be explicitly
and
, to pay close attention to matters of as well as matters of

. In handling research in this way, students build a ³rhetorical repertoire´ and learn how to better
recognize that their thinking is conditioned by the genres they write in and the strength of the message depends
on the best choice of genre for their purpose.
In comparison to the traditional research paper, the Multigenre paper is more appealing and engaging,
for both the writer and the reader. Although the Multigenre paper differs from the traditional research paper in
terms of presentation, the writing standards differ very little; in both students must use critical thinking skills to
process their researched information and present it clearly through writing. An advantage of the Multigenre
paper is that the writing allows for more standards (both National and State) of writing proficiency to be
covered during the unit than is allowed by a tradition approach to the research paper.
The research paper can be a daunting task for students to complete, as well as for an educator to teach.
Research skills are pertinent for every student to learn, regardless of their post graduation plans. The
Multigenre research paper teaches both writing and research skills that students desiring to attend college, as
well as those who are immediately entering the workforce after graduation will need. For many students the
research paper is a new concept that they are completely unfamiliar with. My approach for teaching this unit is
to systematically build upon their knowledge through a constructivist approach to learning. Mandy students are
unaware that they already possess researching skills and use them on a daily basis. The idea of writing a
research paper is intimidating because it boasts a strictly academic appeal in their minds.
I believe that by allowing students to select a topic of their choice, and possibly one that they are already
familiar with, the students can only further their critical- thinking and problem-solving skills. The students¶
surface level knowledge and interest in a topic promotes a necessary catalyst to further developing their
knowledge about the topic. Engaging student interest in a topic is a critical step in advocating a curriculum
based in inquiry.Another benefit of this approach is that it can be completely inquiry based. Rather than the
teacher giving the student a required form, and then the student constructs meaning, the student first gains an
understanding of a topic and then displays it in multiple forms. ³This interpretive mode also requires creativity
along with thought, and it further requires students to use their knowledge of many different types of writing in
terms of style, organization, and format.´ (Molton 1999)
Constructivism is a learning or meaning- making theory and I have employed this strategy throughout
the creation of my assignment, lessons, and overall approach to teaching about research and genre writing. ³It
(constructivism) suggests that individuals create their own new understandings, based upon the interaction of
what they already know and believe, and the phenomena or ideas with which they come into contact.
Constructivism is a descriptive theory of learning (this is the way people learn or develop); it is not a
prescriptive theory of learning (this is the way people should learn).´ (Richardson, 3) Since I am not going to
cover every genre possibility I attempt to create a classroom atmosphere that favors inquiry and allows students
time to not only research their topics, but different modes of writing.
Writing is the central theme in the entire lesson plan. I expect my students to write every day to
continuously work on improvement. Writing is a process that involves many drafts and revisions. Without
directly teaching my students a writing process I want to give them the opportunity to inquire about a process
that best fits their needs; similarly to my rationale for promoting natural student inquiry when researching a
topic. However, as Donald Murray writes, ³There is an hour when the work, at last, must be passed in and the
writer revealed. Writing is never completed: the process of revision, reconsideration and editing goes on until
the final deadline is met.´ Allowing my students ample time to complete a project is as necessary as setting a
deadline to further production of the assignment and ensure it is a priority. The unit plan is set up to scaffold
the students knowledge and abilities and to show that the process has both a beginning and ending.

Throughout the unit I have integrated multiple grammar lesson plans into the weekly schedule. It is my
belief that grammar has a place in every unit plan that is part of my school¶s curriculum. Since this unit is
writing intensive and I am asking my students to complete a lengthy writing assignment it is pertinent that
satisfactory grammar skills are learned, practiced, and used. Instead of creating an entire unit on grammar
instruction I believe it is more engaging and practical to integrate grammar lesson or mini lessons after students
are involved in drafting their assignment. Essentially, grammar lessons are essential in educating students to
become better communicators in their writing and should be integrated regardless of the unit of study.

Adding the Multigenre Research Paper to the curriculum also allows for the teaching and usage of
multiple modes of technology in the classroom. Today¶s learners respond positively to using technology in the
classroom, which in turn allows for a more engaged class. Additionally, some students may only be introduced
to certain technologies while at school making it pertinent that technology is integrated as often as possible.
Technology integration into education can advantageous for teachers, students, administrators, and
parents. Technology enables active media such as audio, video, and interactive software to be used, allowing
students to collaborate in new ways. I have chosen to incorporate technology into this unit plan in order to
further the students understanding of the unit theme as well as to introduce students to how technology can aid
in presenting assignments. The use of technology is also used as an aid to engage student interest and emerge
them in technologies that are useful to their education and application in and out of the classroom.
The use of technology essentially transforms the teacher from authority to facilitator when the students
are guided to seek answers online or with interactive software programs. The students are transformed from
inactive knowledge recipients to active knowledge-seek and knowledge-constructing learners.
Technology also provides more opportunities for differentiation in the classroom. Multiple technology
mediums use applications showing pictures, video, and sounds that are conducive to the learning styles of a
variety of learners. Technology is advantageous to partner or group work, which in turn promotes team work
between students and prepares them for the future. The free exchange of information and widespread use of
compatible text, presentation, and imaging software allows information to be more easily exchanged.
Specifically, the use of technology in the unit plan on grammar and writing a Multigenre paper will aid
students in understanding the material by presenting them with different means of understanding and learning.
The students will also be able to creatively present their newly learned knowledge through a variety of different
technological mediums. The use of technology in this unit plan will not only teach the students about the
specific topic, but also allow them to practice skills that will be beneficial to them in the future.

I have chosen to ask students to give a brief (2-4 minutes) oral presentation of their finished project. I
don¶t introduce this part of the assignment until a week before the final due date in order to keep the students
focused on the writing of the assignment and less on the oral presentation aspects. Since this unit is writing
intensive and not about public speaking abilities, the students¶ assessment of the presentation is based more on
completion and less on their speaking abilities. Feedback will be given regarding their presentation skills, but it
will not be a major factor in their overall presentation grade. I believe that the experience of presenting to their
peers and the feedback that they will receive could be used as a segue into a lesson or unit on speech and
communication.
OO ! ! O !"
!# # ½Ê Extra time for study
½Ê Adjusted learning objectives
½Ê Modified assignments
½Ê roup work
½Ê Adaptive technology use
½Ê Specialist support
½Ê Provide multiple examples
½Ê Highlight critical features
½Ê Provide multiple media and formats
½Ê Support background context
½Ê Provide flexible models of skilled
performance
½Ê Provide opportunities to practice with
supports
½Ê Provide ongoing, relevant feedback
½Ê -ffer flexible opportunities for
demonstrating skill, such as an oral
presentation or vice versa
½Ê -ffer choices of context and tools such as
text, video, or audio
½Ê -ffer adjustable levels of challenge
½Ê -ffer choices of learning context
½Ê -ffer choices of rewards
$% & For English Learners the teacher:

½Ê Explains essential vocabulary prior to
engaging students in text or task; Clarifies
unfamiliar phrases, idioms, cultural
references, multiple meanings
½Ê Provides appropriate support based on
knowledge of students¶ stage of English
language development
½Ê Flexibly groups students and provides
resources that clarifies and guides students¶
interaction and response to text
½Ê Teaches a variety of thinking processes for
reading including identifying reading
purpose, pre-reading and monitoring
comprehension
½Ê Facilitates multiple opportunities for
students to demonstrate and assess their
understanding of key concepts
½Ê Clarifies key ideas, builds students¶
background knowledge, and provides
additional resources that facilitate
comprehension and task completion
½Ê Explains the processes for specific
thinking skills e.g. summarizing,
interpreting, writing applications
½Ê Makes new concepts or language forms
understandable by introducing them with
culturally-responsive resources or activities
½Ê Elicits students prior knowledge and builds
motivation by connecting new concepts to
high interest themes and authentic purposes
for learning
½Ê Demonstrates how to apply academic
language skills e.g. word analysis,
identifying text purpose, pre-writing
½Ê Provides visuals and resources that
graphically highlight essential concepts and
clarify student tasks
' # ½Ê Pre-testing

½Ê Curriculum Compacting
½Ê Tiered Activities
½Ê Most Difficult First
½Ê Alternate Assignments
½Ê Learning Contracts
½Ê Independent Study
½Ê Learning Centers
½Ê Anchor Activities
½Ê Discovery Learning
½Ê Student Choice -ption
½Ê ame Creation
½Ê Podcasts
ifted and Talented
For students that are considered to be gifted and talented academically I believe that a multigenre research paper
is an excellent way to showcase their skills. I do not believe that adding additional assignments is necessarily
an appropriate way to challenge a gifted and talented student; instead, encouraging such students to develop
topics that require a more intensive research would be appropriate.
Possible topic ideas include:

½Ê A local-action research paper where students develop ideas and solutions on improving their community
½Ê Civil rights
½Ê Current political affairs
½Ê Current world events
½Ê Historical figures
OO O OO! ( ! " ! ! O!)"*O

#O &

Students know and understand the role of the communication process and demonstrate effective speaking and listening skills.
½Ê 1.1 analyze the complex relationship of the components of the communication process and evaluate their impact on
effectiveness
½Ê 1.3 apply and evaluate effective listening strategies to fit the purpose, situation, and setting of the communication
½Ê 1.5 adapt communication to a variety of public, group, and interpersonal audiences, settings and purposes
½Ê 1.6 use feedback to monitor, adjust, and evaluate speaking and listening effectiveness
#O!

Students read by applying foundational skills and strategies to comprehend, interpret, analyze, and evaluate texts.
½Ê 2.2 expand and utilize general and specialized vocabulary through the use of context clues, analysis of word origins,
and reference sources
½Ê Recognize the need for background knowledge and research to enhance comprehension
½Ê 2.6 make, revise, and justify predictions
½Ê 2.9 summarize text by determining main idea and analyzing essential and nonessential supporting details
½Ê 2.10 make and justify complex inferences within and among multiple texts and/or forms of media
½Ê 2.14 critique author¶s purpose, point of view, bias, language use, and credibility to deepen understanding within and
across culturally diverse texts, including those by and about Montana American Indians
#O# +

Students select, interpret, and respond to a range of literature
½Ê 3.1 analyze the ways in which authors develop literary elements (setting, plot, character, conflict, point of view, mood,
tone, theme) to impact readers
½Ê 3.2 evaluate how diction, figurative language, imagery, detail, organization, and style shape meaning and impact works
and readers
½Ê 3.3 analyze and define the characteristics of literary genres and evaluate the effect of genres on readers
#O,

Students effectively evaluate and create media messages.
½Ê 4.1 evaluate how techniques and technologies influence the meaning and effectiveness of the media message
½Ê Evaluate the impact of fact, opinion, bias and stereotypes in media messages about diverse groups of people, including
Montana American Indians
½Ê 4.6 create and evaluate media messages for a variety of audiences and purposes
½Ê 4.7 analyze the embedded values and evaluate media¶s role in shaping perceptions of reality for individuals, cultures,
and societies.
#O-
.
Students will write to communicate effectively for a variety of purposes and audiences.
½Ê 5.1 apply the steps of the writing process to develop, evaluate, and refine writing
½Ê 5.2 independently select topics and generate complex thesis statements that indicate the writer¶s purpose for writing
½Ê 5.3 generate, develop and elaborate upon main ideas using relevant and specific supporting details.
½Ê 5.4 organize writing using a logical progression of ideas and transitions to effectively convey the relationships among
them
½Ê 5.5 demonstrate knowledge of language choices and their impact on writing by showing purposeful control of voice,
sentence fluency, and word choice
½Ê 5.6 apply conventions of standard written English (e.g., usage, punctuation, spelling) appropriate for purpose, audience,
and form
½Ê 5.7 articulate and evaluate the purpose and audience, and select and use appropriate format, and tone in one¶s own
writing
½Ê 5.8 write using a variety of genres and evaluate one¶s own and others¶ writing for effectiveness of form and genre
½Ê 5.9 compose a variety of written works utilizing complex ideas and detailed support that demonstrates the ability to
maintain a sustained focus
½Ê 5.10 use information problem solving process to effectively synthesize information to research a topic
½Ê 5.12 set goals, seek feedback and evaluate writing process
º
Ê$ Ê
'ÊÊ@
Ê
½Ê (Ê Ê Ê Ê &Ê &Ê Ê
Ê Ê &Ê Ê !!Ê Ê Ê !Ê Ê Ê 'Ê $Ê
ÊÊ
!ÊÊÊ&Ê
Ê
Ê-ÊÊ.
ÊÊ&
ÊÊ!Ê'Ê
½Ê ÊÊ
Ê
'ÊÊ

Ê
½Ê /ÊÊÊ ÊÊÊÊ
½Ê º Ê ÊÊÊ&
ÊÊÊ
ÊÊÊÊÊ!Ê0ÊÊ
Ê
0'ÊÊm !
!

½Ê -Ê&Ê& Ê
½Ê ÊÊ
Ê
1'ÊÊ "#üÊÊÊ
& Ê2Ê
½Ê ÊÊ-Ê
½Ê
Ê!ÊÊ ÊÊÊ
½Ê /
Ê#ÊÊ Ê
½Ê 3ÊÊ!Ê!Ê&.Ê
Ê
'ÊÊ
!
Ê
½Ê 4Ê&.ÊÊ
½Ê 0+0ÊÊ
Ê
5'ÊÊ Ê
½Ê ÊÊ
ÊÊ
ÊÊ Ê!#Ê
½Ê 0ÊÊ
Ê
Ê
c

Ê

The multi-genre paper asks students to see, understand, interpret, synthesize, and know their subject through multiple genres rather
than a traditional or linear research-based paper. In employing genres as both a lens and a rhetorical tool, the multi-genre research
paper asks students to be explicitly
and
, to pay close attention to matters of as well as matters of

. In
handling research in this way, students build a ³rhetorical repertoire´ and learn how to better recognize that their thinking is
conditioned by the genres they write in and the strength of the message depends on the best choice of genre for their purpose.

It¶s a collection of pieces written in a variety of genres, informed by your research on a particular subject, which presents one or more
perspectives on a research question or topic. A multi-genre paper is personal, creative, and can¶t be copied from some other source. It
involves you, as a writer, making conscious decisions about what information is important and how it should be presented to the
reader.

!
As you research, you¶ll need to consider your audience and what genre would be the most effective in communicating your message to
that audience. What genre will ³speak´ to the people you most want to reach? And why? You¶ll need to be fully engaged in your
research²don¶t approach it as a scavenger hunt in which you collect information and spit it back out in an ³academic´ paper. This is
N-T that drill. This goes beyond the academic paper in a variety of ways. You will be demonstrating all that you¶ve learned so far,
all of the tools and writing techniques you¶ve studied, all of the questions we have explored about humanity, and synthesizing it all
into a new and wonderful whole²something completely unique that only you can do!
"
c
A
topic will be one that deals with humanity, a person, or specific topic in a thoughtful and insightful way. This, of course, is
huge and wide open. Your topic can only be answerable by you and the research you collect, analyze, synthesize, and present in
writing.
/#0#,#&1

1.Ê Am I truly interested in this topic? You must be invested and it must show in your final product. If you don¶t find your topic
interesting, your audience won¶t either.
2.Ê Do I have access to enough information on this topic? You will have the resources in our school library to start with, but
beyond that you have access to the internet ± it¶s unlimited. CAUTI-N: You must choose your sources wisely. We¶ll talk
more about this in class.
3.Ê Is the subject limited enough in focus? Is there a specific theme/idea/concept/answer in which to research and end up with a
clear message to present?
4.Ê Is there a substantial human element to the topic? This must be meaningful for you and your audience and the human
element is the key.

&1
You will begin with a general idea and move to the specific. Here is an example of how you move from general to specific:
#02 ĺ &' #02 ĺ # &
Holocaust Concentration Camps How concentration camps
affected people¶s lives.
Ļ Ļ
Auschwitz ĺ People sent to Auschwitz
often lost family members,
lost faith in od, and lost
a sense of self.
*Start with the essential question(s) you want to find an answer for and then go through the above cycle to narrow your focus.
Remember the camera lens example: We don¶t want to deal with the entire landscape in the photo; we want to zoom in on one pivotal
element in the landscape. -r, the ³one-inch picture frame´ example: start with looking through a one-inch picture frame then slowly
draw back and expose your view to the reader.

The genres you can use are just about limitless. You can write and relay important messages in so many ways it¶s mind boggling!
But BEWARE! This should not be a haphazard collage of disjointed elements; you must connect the genres and what they represent
with a central, significant theme (a thesis). Your creative efforts MUST be informed by solid research, including research about the
genres themselves. We will review many genres in class, but if you want to use a genre that we don¶t cover (which I encourage!) be
sure to research how to properly represent the genre.
When you choose a genre ask yourself, ³Why am I choosing it? What do I want to show through this genre?´ Your purpose must be
clear and each genre should express a different piece of the whole puzzle, not repeat the same thing in a variety of ways.
è

# # %(
' &2 " '
#&3
,4#

56# , #&7 89
#&1* #&1(#7 - #&+1(#&,
½Ê Newspaper Article ½Ê Poster ½Ê Picture/Photograph
½Ê -bituary ½Ê Invitation ½Ê raph/Chart
½Ê Editorial ½Ê Ad ½Ê Map
½Ê Letter to the Editor ½Ê Travel Brochure ½Ê Certificate-award, death, degree
½Ê Advice Column ½Ê reeting Card ½Ê Storyboard
½Ê Magazine Article ½Ê Cartoon ½Ê Postcard
½Ê Recipe ½Ê Bumper Sticker ½Ê Menu
½Ê Application-job, school, etc. ½Ê Business Cards ½Ê PowerPoint
½Ê Wanted Poster ½Ê Invitation ½Ê Scrapbook Page
½Ê Headlines/Front Page ½Ê Response to Art ½Ê Magazine Cover
½Ê Dictionary of specific language ½Ê Neighborhood Flyers ½Ê Mandala
½Ê Mission Statement ½Ê PowerPoint
#&1' #&.1%-

#&1 ##
½Ê Interview ½Ê Diary Entry ½Ê O,
½Ê Timeline ½Ê Song ½Ê !&
½Ê Directions ½Ê Poem²many variations! ½Ê &%-

½Ê Campaign Speech ½Ê Short Story ½Ê *#% ,
½Ê Assignment Sheet ½Ê Personal Narrative ½Ê '
½Ê Resume ½Ê Conversation ½Ê
½Ê Encyclopedia Entry ½Ê Pledge
½Ê Memo ½Ê Top Ten List
½Ê Lab Report ½Ê Travel Journal
½Ê Calendar/Agenda ½Ê Report Card
½Ê Membership Cards ½Ê Telegram
½Ê Will ½Ê Prayers/Meditations
½Ê Police Report ½Ê Eulogy
½Ê Pro/con List ½Ê Letter
2
Repetend is something added to your mulit-genre project that repeats or continues. The purpose of repetend is to create unity among
the various genre pieces and to give the writer an editorial voice that the reader can easily relate to.

Since multi-genre papers are unique and non-linear, they require a lot of work from a reader. You, as a conscientious writer, do not
want to let your reader get confused as they move from genre to genre. If you provide your reader with reoccurring images or phrases,
or a running commentary or even a narrative or story, you will create unity that will help your reader better understand your central
theme. This is much like weaving your thesis throughout a traditional essay.
ÊÊÊ Ê
Ê Ê Ê ÊÊ Ê Ê
-,&&:
½Ê include the same phrase, sentence, or passage in each genre page as a heading or somewhere else in the text
½Ê include a description or design in each piece (written or graphic), placed strategically and meaningfully for easy recognition
½Ê include a running commentary from you, the writer, following or preceding each genre piece
½Ê create a character and follow his/her reactions to pieces
½Ê create a character involved somehow in each piece of writing²an ongoing story
½Ê create a cartoon strip at the top or bottom of each genre that comments on the ideas presented

#

!

½Ê c
½Ê O $
$%
!
$
!

!&
½Ê c "
½Ê %

&'

(&
½Ê
"

)! *!
*
*
++
c , -

& )&'#)
5*
This cover page includes the following
information :
½Ê title (not label)

½Ê your full name
½Ê the date (due date)
½Ê teacher & course name
½Ê graphics, borders, creative stuff
50' This page will help your reader navigate

your project. Each genre is listed with its
title following. Each title is significant and
meaningful on its own.
+5&
:*' - ''
#
&';
½Ê how you came up with your idea

This preface, forward, or introduction will ½Ê why you chose your topic
greet readers and give a bit of background ½Ê why your topic is important
information about your project. You'll ½Ê an introduction to a main character
need to introduce the subject and anything ½Ê a description of a crucial setting or
you think the reader should know about central activity
you and/or your project before they read it. ½Ê a theme that will be carried through
your genres
½Ê what you learned about your topic
and/or genres.
+5<, -,&&,#

#$

Your body consists of base pieces
from different genres. You must have The body of your multi-genre project is ½Ê include the same phrase, sentence,
one entry from the structured category composed of the various pieces you create or passage in each genre page as a
(group 6). To unify the separate pieces, to help your reader understand your heading or somewhere else in the
use some type of repetend or unifying subject. Some of the pieces will be written, text
device²imagery, theme, etc. some visual, and some a combination. ½Ê include a description or design in
each piece (written or graphic),
placed strategically for easy
recognition
½Ê include a running commentary from
you, the writer, following or
preceding each genre piece
½Ê create a character and follow his/her
reactions to pieces
½Ê create a character involved
somehow in each piece of writing--
an ongoing little story
½Ê create a cartoon strip at the top or
bottom of each genre page that
comments on the ideas presented
5*
69 Some aspects you might include:
½Ê how writing about this topic has

changed your perspective on your
Notes enhance the reading of the topic
½Ê what you learned overall
paper and enlighten the audience ½Ê how you felt about using the multi-
about the topic. genre medium to write rather than
just writing a traditional story/essay
½Ê any information that would help
clarify anything you wrote
5-
You must have five (minimum) sources Refer to your MLA handbook purchased at
from a variety of information types. the beginning of the year.

This list of your sources includes a brief
description of the source and its value to
your project

âEverything you need to know to succeed.â Your Multi-genre Web. 2002. 7 Jan 2007
<http://www.sheboyganfalls.k12wi.us/cyberenglish9/multi_genre.htm>.

$@ %&&

'
( %&&c )&&

$

*+&,%&& - !

à

. !

*/&,*+0#

!"

!
#

"
!

*0&,*12

"$

*3%,*)2

%

&

&,*3&'

'
(

@

ü

%

()
(*
'

a
ü

+

() +

,
(*

" -

( .
/ 0

4ÿ

ü(

12 3

12 ,

12

12 #

12 4!
! !

`

ü
5

1

1

$
(6 5
(7 #

(* 5 $

"

ü 8ü
&
ü

(6

9
(* :

ü

5

(7 &
( &

&

.Ê*Ê
Ê

½Ê /Ê
½Ê ÊÊÊÊÊÊÊ&ÊÊ&Ê#Ê Ê
½Ê 6Ê
ÊÊ%&ÊÊÊ
.ÊÊ&Ê
½Ê Ê 7Ê8!Ê%Ê
½Ê Ê$!#ÊÊÊÊ7Ê#!ÊÊ.&Ê#Ê&
Ê
½Ê
Ê!#ÊÊÊ$.ÊÊÊÊÊÊ&.Ê
c
½Ê Ê/Ê
½Ê ÊÊÊÊÊÊ
.ÊÊ9Ê$Ê9Ê:
9Ê !.Ê7Ê9Ê9Ê
½Ê 6Ê
Ê
Êº ÊÊ-
ÊÊ$7Ê
!Ê !Ê
½Ê
ÊÊ6Ê
Ê%Ê
½Ê º Ê$ÊÊÊ$
;Ê
Ê%Êü
2Ê
½Ê
Ê!#ÊÊ$.ÊÊÊÊÊÊ#Ê<=ÊÊÊÊ&Ê

½Ê /Ê
½Ê ÊÊÊÊÊÊÊ ÊÊ!ÊÊÊÊ
6Ê
ÊÊ"#Ê Ê&Ê>!.Ê?!Ê
½Ê -
%Ê
½Ê
Ê$!#Ê$.ÊÊ&ÊÊÊÊ#
ÊÊ!ÊÊÊ
Ê!#Ê
c

½Ê Ê/Ê
½Ê ÊÊÊ%&ÊÊ& ÊÊ&Ê!
9Ê
½Ê 6Ê
ÊÊÊ ÊÊ8!Ê$Êº
Ê Ê
½Ê
Ê$!#ÊÊ$.Ê&ÊÊÊÊÊ
ÊÊÊ
4

½Ê /Ê
½Ê Ê.Ê
ÊÊ
½Ê
Ê$!#ÊÊ ÊÊ
ÊÊ
Ê
*1Silent Sustained Reading (SSR)
1
To provide students quiet time to read a text of their choice and while encouraging reading for enjoyment.
02%1
Ê Increase student reading proficiency
ÔÊ Comprehension
ÔÊ Build a belief in self as a better reader
ÔÊ Achievement
Ê Improve student motivation to read
ÔÊ Make reading for pleasure acceptable (secondary level)
ÔÊ Increase outside (home) reading for pleasure
ÔÊ Increase the range of resources for pleasure reading
ÔÊ Develop lifelong love of reading
Ê Facilitate overall language development
ÔÊ -ral
ÔÊ Written
1
#O!

Students read by applying foundational skills and strategies to comprehend, interpret, analyze, and evaluate
texts.
#O# +
**SSR encompasses a wide spectrum of benchmarks and standards
1
½Ê A book, magazine, or article.
*#1
½Ê SSR takes place every Monday, Wednesday, and Friday for 15 minutes
½Ê Students take out their desired reading material and move to a comfortable place.
½Ê Students and teacher read silently.

$ % % " !
1.Ê Students must read for the entire allotted reading period.
2.Ê Students cannot do homework or read any material for another course. SSR is not a study hall.
3.Ê Student must read a book, preferably one that tells a story (e.g. novels, histories and biographies rather
than books of lists or facts where readers can¶t sustain attention, build up speed and fluency, or grow to
love good stories.) Magazines or articles are acceptable, but need to be verified as acceptable by teacher
before reading begins. Students need to bring in an alternative text in case desired material is not
suitable for SSR.
4.Ê Student must have a book in your possession when SSR times starts; this is the main responsibility
involved in coming prepared to class.
5.Ê Student may not talk or disturb the others.
6.Ê You may sit or recline wherever you like
O 1
SSR is not graded because it is an activity intended to engage students in casually reading for enjoyment.
However, students are expected to fully participate in SSR and will occasionally meet with the teacher to briefly
discuss what the student is reading. A reading log on a clipboard will be sent around the room for students to
record what they are reading and what page number they are on at the given time. Although this is self-
recorded by the student, participation can be easily surveyed by the teacher while the students are reading.

# !

-'1
!"#$"%& # # #
' ()' '

*: Read Like a Writer
1
To exemplify why students should read like a writer and what skills are needed in order to be successful at
characterizing texts.
02%1
½Ê Students will be able to define what it means to read like a writer
½Ê Students will be able to discuss characteristics of writing
½Ê Students will be able to find examples of different writing characteristics in a mentor text
1
#O# +
½Ê 3.1 analyze the ways in which authors develop literary elements (setting, plot, character, conflict, point
of view, mood, tone, theme) to impact readers
½Ê 3.2 evaluate how diction, figurative language, imagery, detail, organization, and style shape meaning
and impact works and readers
#O-
.

1
½Ê My Father¶s Voice Handout (for initial lesson)
½Ê Any text that is currently being studied
½Ê Colored pencils
*#1
½Ê Ask students what they think it means to ³read like a writer´ and write their answers on the whiteboard
½Ê Next, discuss what questions about the current text of study need to be answered when reading? Write
answers on a piece of poster board for students to reflect on during future class periods.
½Ê Aid the discussion with the following questions
ÔÊ What do you notice about how this text was written?
ÔÊ Underline repeating phrases or repeating ideas or images
ÔÊ Notice how examples that support ideas are written. Underline evidence to support a position.
ÔÊ Where does the writer show not tell?
ÔÊ Why do you think the author chose to organize the piece this way?
ÔÊ Why did the piece open the way it did? How would you define the lead?
ÔÊ What do you think the writer left out of this piece-or cut in revision?
ÔÊ What did you notice that you might try in your writing?
½Ê Pass out ³My Father¶s Voice´ Handout and colored pencils
½Ê Instruct students to read the passage and with colored pencils circle examples of sensory detail, effective
use of dialogue, theme, or the ³so what´ of the piece. (or any other qualities of writing being studied)
½Ê Discuss findings in class or small groups
½Ê muick Write: Write about someone¶s voice you know well
O 1
Through student participation and by circling around the room to ensure students are able to find examples in
text, assess overall understanding.
4
56c
4ÊÊÊÊ!
ÊÊÊÊÊ# ÊÊÊ

ÊÊ&Ê4Ê&ÊÊÊÊ
Ê*'Ê$Ê Ê
Ê4Ê
Ê&
Ê
Ê&Ê Ê.ÊÊÊÊÊº!Ê 7Ê

!'Ê7Ê
ÊÊÊÊÊÊ.ÊÊÊÊ&Ê&
ÊÊ.ÊÊ
'Ê*Ê
Ê
&ÊÊÊÊÊÊÊÊ
ÊÊÊÊÊÊ! Ê ÊÊÊ

ÊÊÊÊÊÊ'Ê
(Ê!ÊÊ7Ê#!ÊÊ Ê.

Ê!
ÊÊ'Ê
Ê7Ê#!'Ê"Ê!ÊÊÊÊÊ4

Ê!!'Ê%ÊÊÊÊ$!Ê!Ê1Ê&ÊÊ
Ê
"
ÊÊ#
ÊÊ"
ÊÊÊ)ÊÊÊÊ'Ê
Ê7Ê#!Ê
Ê ÊÊ1++
Ê ÊÊ&
ÊÊÊÊÊÊ#!ÊÊ&Ê Ê
!Ê Ê&ÊÊ
!ÊÊ Ê+ÊÊÊ!'Ê
Ê7Ê#!Ê!
ÊÊÊÊ!ÊÊÊÊÊ#ÊÊ#ÊÊ&

Ê

'Ê%ÊÊ&ÊÊÊ!Ê1ÊÊÊÊ&. ÊÊÊ!.ÊÊÊ

&Ê4
Ê ÊÊ
#Ê*'Ê
Ê7Ê#!Ê ÊÊÊ Ê.Ê! Ê#ÊÊ
ÊÊ 7ÊÊÊ

ÊÊ
ÊÊ&Ê4Ê
Ê&ÊÊÊÊÊÊº!Ê 7Ê!'Ê
4ÊÊ
ÊÊ&ÊÊ&ÊÊ&Ê
&Ê
Ê ÊÊÊ'ÊÊÊÊ
&.ÊÊÊÊ!!
ÊÊ$!'Ê$Ê
.ÊÊ4
Ê!!ÊÊ
Ê
ÊÊ&ÊÊ
Ê
ÊÊ
Ê
ÊÊÊ!'Ê
(7ÊÊ ÊÊÊ#

ÊÊÊÊÊÊ&ÊÊÊÊ.ÊÊÊ
Ê
#ÊÊ$!Ê3Ê$ÊÊ
!ÊÊÊ
ÊÊÊÊ!Ê&ÊÊ
Ê

Ê&Ê!Ê&ÊÊÊÊÊ!.Ê.!.ÊÊÊ
ÊÊ
!Ê#Ê
Ê.
'Ê<6.=ÊÊÊÊÊÊÊ&!Ê&Ê
ÊÊÊ
#ÊÊ4
'Ê<6.Ê&Ê
&
Ê&ÊÊ ÊÊ$!'=Ê
4ÊÊÊÊ.Ê4
Ê
ÊÊ Ê&ÊÊ!ÊÊ$!Ê&ÊÊ&Ê
Ê
Ê#Ê
Ê
Ê&ÊÊÊÊ!
ÊÊ!
Ê'Ê*&ÊÊÊ.ÊÊ
4
'Ê(Ê
Ê!Ê&ÊÊÊÊÊÊ

ÊÊÊ&ÊÊÊÊÊ ÊÊ

'Ê%Ê&ÊÊ$!ÊÊ'Ê%Ê#
Ê!Ê
.Ê!
Ê! Ê

.ÊÊÊ#ÊÊ
!ÊÊ
'Ê(Ê
ÊÊ
Ê Ê&!Ê&ÊÊÊ
'Ê
4Ê!Ê.ÊÊ!
ÊÊ@3 Ê #@Ê7Ê++
&Ê&Ê
#ÊÊÊ0Ê&ÊÊ
Ê!ÊÊ$!'Ê<Ê4Ê!ÊA!9=ÊB!
Ê3 Ê'Ê< ÊÊ#Ê!ÊA!'Ê
CÊ.ÊÊÊ
# ÊÊÊÊÊÊ
'=Ê
(7Ê&ÊÊÊÊ'Ê +&ÊÊ&Ê!ÊÊÊ&Ê4Ê&Ê'Ê +&Ê

Ê!Ê4Ê#ÊÊÊ#!'Ê:Ê& ÊÊ4ÊÊÊ&ÊÊÊ7Ê#!ÊÊ&
ÊÊÊ
Ê# ÊÊ
Ê&Ê$!'ÊÊ7Ê#!Ê!
ÊÊ'Ê
Zigzag: A Life of Reading and Writing, Teaching and Learning, Romano 2008
*1Style: Defining and Exploring an Author¶s Stylistic Choices
1To introduce students to style and how it affects literature.
02%1
½Ê Students will define style and explore the ways the literary element is used.
½Ê Students will explore examples of different literary styles in given excerpts.
½Ê Students will analyze the purpose of the chosen style in the pieces explored.
1
#O!

Students read by applying foundational skills and strategies to comprehend, interpret, analyze, and evaluate
texts.
½Ê 2.14 critique author¶s purpose, point of view, bias, language use, and credibility to deepen understanding
within and across culturally diverse texts, including those by and about Montana American Indians
#O# +
1
½Ê Whiteboard/marker
½Ê Elements of Literary Style Checklist handout
½Ê Writing journals
½Ê !
& '
' handout or overhead transcript
*#1
½Ê Begin by discussing what style is. Ask for class participation and make a list on the whiteboard of
possible elements. Then, with the class put together a definition.
½Ê Hand out copies of the Elements of Literary Style Checklist. Briefly review the list and have students
attach it inside of their writing journals.
½Ê Explain that in their groups students will look for examples of stylistic devices in a sample passage and
discuss the possible reasons that the author uses these literary devices.
½Ê Display the passage from !
& '
' on an overhead or projector. This may also be
handed out to students who need a closer visual of the passage. Ask a student to read the passage aloud,
or read the passage to the class.
½Ê Model ways for students to begin their analysis of the passage. See ³Demonstrating A Way to Analyze
Style´ sheet.
½Ê Answer any questions pertaining to the example or the assignment.
½Ê Divide students into small groups and give them ten minutes, or longer if needed to work on their
analysis. Circulate among students as they work, offering support and feedback.
½Ê After you're satisfied that students have had a chance to explore the author's stylistic devices, assemble
as a class and share observations about the activity. The following questions can generate discussion:
ÔÊ What stood out the most about the kinds of words that the author used?
ÔÊ What kind of sentence patterns did the author use?
ÔÊ How did the words and sentence patterns relate to the characters involved in the passage?
ÔÊ -verall, how would you describe the author's style?
O
Informal assessment works well for this activity. As students analyze the passage, circulate among groups,
observing students' identification of the various techniques employed in the passage. Provide support and
feedback as you move from group to group.
Adapted http://www.readwritethink.org/classroom-resources/lesson-plans/style-defining-exploring-author-209.html
Ê
Ê
!.
Ê
ÊÊ6Ê
Ê
×

Ê $ÊÊ!Ê
ÊÊ9ÊÊÊÊÊ! 9Ê
Ê ºÊÊ!ÊÊÊ!

ÊÊÊÊÊ
9Ê
$ÊÊÊ ÊÊ9Ê
4ÊÊ&+Ê &ÊÊ!#
Ê!9Ê

Ê 4ÊÊ& Ê#
Ê!#Ê&ÊÊÊ ÊÊ
ÊÊÊÊ!ÊÊ!ÊÊ
Ê#9Ê
Ê
37(. "( Ê4ÊÊ& Ê ÊÊ!ÊÊ

ÊÊ
+&9Ê
º Ê
ÊÊÊÊÊÊÊÊÊÊÊ&9Ê
)7
Ê $ÊÊ&Ê
ÊÊ!9ÊÊ$ÊÊ!!
Ê
&Ê!

Ê
!
Ê Ê!ÊüÊÊ'''29Ê
Ê
Ê
074
Ê $ÊÊÊÊ
ÊÊ
9Ê
Ê $ÊÊÊÊÊÊ #Ê

Êü!Ê
ÊÊÊ29Ê
178º Ê %&ÊÊÊ

Ê
ÊÊ9Ê
Ê ºÊ&ÊÊ&
Ê!#ÊÊ)Ê 9Ê
ºÊÊ!#ÊÊ

ÊÊÊÊ
9ÊÊºÊÊÊ
Ê
Ê!#9Ê
ºÊÊ
Ê #ÊÊÊÊ! ÊÊÊÊÊ9Ê
%&Ê!ÊÊÊÊÊ9Ê
/7 !Ê
ÊÊ!ÊÊ!Ê
Ê!Ê

ÊÊÊ!Ê!'Ê
Ê
Ê
+7

%&ÊÊÊÊ!Ê!!ÊÊ&ÊÊ&ÊÊÊ
Ê #
ÊÊÊ9ÊÊÊÊÊ!ÊÊ#9Ê
Ê Ê.ÊÊ!!ÊÊ9ÊÊ
,9ÊÊ !.Ê!!9Ê
Ê 9ÊÊ !9Ê
Ê
Ê
27c Ê ÊÊÊ7Ê9ÊÊÊÊÊÊÊÊ9Ê
Ê ºÊÊÊÊ!!9ÊÊ$ #9ÊÊ

9ÊÊ!9ÊÊ
4Ê
#9Ê
!
Ê!9ÊÊ%
9ÊÊ4!9ÊÊ:9ÊÊü$ÊÊ
'''2Ê
#ÊÊÊ&ÊÊÊ#
ÊÊÊ#9Ê
*&7

9
%&Ê!ÊÊÊ
Ê!
ÊÊÊÊÊÊÊ
Ê
Ê ÊÊÊ' 'Ê Ê
Ê!Ê!!Ê

!ÊÊ
Ê&Ê!!ÊÊÊ9Ê
Ê
Ê
**7

"
$Ê Ê#ÊÊÊÊÊÊ
!.Ê Ê

Ê !ÊÊ 9Ê
Ê $ÊÊ!ÊÊÊ
9ÊÊ%&ÊÊÊÊ&ÊÊÊ
;ÊÊ&ÊÊÊ9Ê
*%7c' " %&ÊÊÊÊ ;ÊÊ!

ÊÊ#9ÊÊ(Ê&Ê

Ê !9ÊÊÊÊÊ&.7Ê!
Ê<=9Ê
*37# Ê %&ÊÊ&ÊÊÊÊÊÊÊÊ-ÊÊ

ÊÊ Ê!
Ê#ÊÊÊÊ9Ê
*)7(.
$ÊÊÊ
Ê!Ê!ÊÊ++!!Ê
: Ê - Ê
ÊÊ Ê
Ê
ÊÊÊ Ê. Ê
Ê
Ê ÊÊÊÊÊ
Ê#Ê!#Ê
ÊÊÊÊ9Ê
*07 ºÊÊÊ!
ÊÊÊÊÊÊ&Ê!ÊÊ9Ê

'Ê
$ÊÊ7ÊÊ
ÊÊ ÊÊÊ
Ê
Ê-
!
ÊÊÊ-9ÊÊÊ!ÊÊÊ#9Ê
http://teachers.lakesideschool.org/us/english/ErikChristensen/WRITIN 20STRATEIES/LiteraryStyles.htmÊ

-,O,= ,
Consider the short passage below from Hurston's novel. Pay particular attention to the stylistic elements that are part of
the excerpt and the way that Hurston's choices affect the meaning of the passage. Try reading the passage aloud to get a
sense of the author's use of idiomatic words and phrases.
, # %5,0>

0'> 0'
'
5<# 0
0#
>' ?7 ,,#
7
7577,@##

7 ?%,? #0'?,#
#5#?
,#
&# ?5#?# 75@, '' 4#
#5@?
?',#
'>>,##2# &?#7?00#
#0
# 5@' #
% > 77
5 ' # ?
'#5 7 #
#
# #
%& '

0' ,#' #' # 5 7 7 #
&
7 #
5 2# ## ' 75
from Zora Neale Hurston, Their Eyes Were Watching od. (Urbana: U of Illinois P, 1978), p. 120.

*' O#
Think aloud is exactly what it sounds like, the process of saying aloud the things that you're thinking as you complete a
process. You might think of it as self-narration. When you think aloud, you say all the things that you consider. You can't
make a mistake. It's similar to âshowing your workâ on a math problem: You're showing the work that goes into the
conclusions you draw. This sample shows the think aloud process of someone exploring Hurston's style in the passage
above:
It's almost like we hear what someone is thinking -- probably Janie. But the thoughts are in third person (she), not first (I),
so there is an outside narrator. The passage uses an informal rhythm with fragments -- âMaybe, he had seen it long before
Janie did, and had been fearing for her to seeâ and âBecause he began to talk about her age all the time, as if he didn't want
her to stay young while he grew old.â are both fragments. They sound like something someone might think. They're not at
all formal. The narrator seems to know what everyone thinks, so it's an omniscient narrator.
The paragraph also includes oral speech. The sentences âYou oughta throw somethin' over yo' shoulders befo' you go
outside. You ain't no young pullet no mo'. You'se uh ole hen now.â sound exactly like something I might have heard
someone say out loud. The writer dropped letters on words like somethin', yo', and befo' to make the text like something
the writer might have overheard. A more formal book relying on standard white dialect might have said, âYou should
throw something over your shoulders before you go outside.â or even âYou should put a sweater on before you go
outside.â The words and phrases that the author uses in these sentences are more realistic for the setting though. A person
in the black southern community where Janie and Jody live would hear people talking in the dialect that the writer uses.
By using this language, the narrator takes readers into the community. Readers aren't just outsiders; they are part of the
community.
The last part of the paragraph compares Jody's head to a cave: âFor the first time she could see a man's head naked of its
skull. Saw the cunning thoughts race in and out through caves and promontories of his mind long before they darted out of
the tunnel of his mouth.â The narrator uses the words âraceâ and âdartedâ to describe how the thoughts move in Jody's
brain. The words âcaves,â âpromontories,â and âtunnelâ describe the places that the thoughts must travel. The narrator
could have just said that Jody had âcunning thoughtsâ and left it at that. The language that the narrator uses, however,
makes me think of the thoughts trapped in a dark place, maybe even a cold, damp, lonely place. When the thoughts come
out, they are racing and darting. They have to escape. This descriptive language makes the âcunning thoughtsâ seem sort
of desperate to escape. Just like Jody probably wants to escape his own old age, the words must work to escape from his
mind.
7
#
Based on the ideas that were gathered in the think aloud, you can generate a statement that draws all the ideas together:
The informal language, use of dialect and speech, and the metaphorical phrasing in Hurston's passage brings readers into
the community and into the mind of the main character, Janie. We know what she thinks and hears. This style brings us
closer to Janie and helps us understand her character's choices and reactions to others.
*1Narrative Writing with Jack Kerouac
- " author Jack Kerouac embarked on his first cross-country road trip in 1947. Jack Kerouac published his most famous novel, - ", in 1957, but his
depiction of the iconic road trip was actually inspired by two real-life trips Kerouac took ten years before, in 1947 and 1949. This influential novel, with its spontaneous
and unconventional writing style and its focus on disillusionment, helped to define the Beat eneration, a social and literary movement of the 1950s that also included
William S. Burroughs and Allen insberg.
O 1
Students will understand stream of consciousness style in narrative writing.
< ( 1
½Ê Students will be able to discuss examples of Kerouac¶s writing characteristics
½Ê Students will be able to define stream of consciousness
½Ê Students will be able to create an example of narrative, using stream of consciousness
OO O OO! 1

#O-
.
½Ê 5.7 articulate and evaluate the purpose and audience, and select and use appropriate format, and tone
in one¶s own writing
½Ê 5.8 write using a variety of genres and evaluate one¶s own and others¶ writing for effectiveness of
form and genre
½Ê 5.9 compose a variety of written works utilizing complex ideas and detailed support that
demonstrates the ability to maintain a sustained focus
#O# +
½Ê 3.3 analyze and define the characteristics of literary genres and evaluate the effect of genres on
readers
O !O 1
½Ê - " Handout
½Ê Writing Journal
) :*! "! 1

½Ê Begin by asking students to free write about the following:
ÔÊ If you could travel anywhere in the United States by car, where would you want to go and why?
ÔÊ Who would be the one person that you would most want to take with you on the trip and why?
ÔÊ What difficulties would you expect to have on your trip?
½Ê Afterward, read a section from - " that deals with the aspects of cross-country travel and that
reflects Kerouac's unique writing style.
½Ê Lead students in a discussion with the aim of characterizing Kerouac's style. Write their answers on the
board
½Ê Then ask students to attempt to emulate his stream-of-consciousness style with their own written
narrative in which they blend their road trip from the opening discussion with details from vacations and
trips they have taken in the past.
O 1
Survey the students for a general understanding of the lesson. Ask for a few volunteers to read a section of their
writing to close class. During student conferences this would be an excellent piece to talk about and ensure
understanding.
http://www.readwritethink.org/classroom-resources/calendar-activities/road-author-jack-kerouac-20287.html
*1 My Story,My Voice: A Digital Story
1
Students will create a digital story
02%1
½Ê Students will organize their thoughts and express their stories through use of imovie or similar software.
½Ê Students will develop a sense of their personal writer¶s ³voice´ and portray it through use of audio and
visual elements.
½Ê Students will improve their technical skills by familiarizing themselves with imovie and other necessary
technologies to complete their movie.
1
#O, : Students effectively evaluate and create media messages.
½Ê 4.1 evaluate how techniques and technologies influence the meaning and effectiveness of the media
message
½Ê 4.7 analyze the embedded values and evaluate media¶s role in shaping perceptions of reality for
individuals, cultures, and societies.
#O-
.1 Students will write to communicate effectively for a variety of
purposes and audiences
½Ê 5.7 articulate and evaluate the purpose and audience, and select and use appropriate format, and tone in
one¶s own writing
½Ê 5.8 write using a variety of genres and evaluate one¶s own and others¶ writing for effectiveness of form
and genre
½Ê 5.9 compose a variety of written works utilizing complex ideas and detailed support that demonstrates
the ability to maintain a sustained focus

, +1A student must: apply digital tools and skills with creativity and innovation
to express his/herself, construct knowledge and develop products and processes.

, 1A student must: possess a functional understanding of technology concepts
and operations.
1
½Ê Computers
½Ê Imovie software (or similar version)
½Ê Student¶s resources (brought from home or internet)
*#1
½Ê Throughout this lesson students will explore storytelling through the use of pictures and audio. In an
attempt to further the understanding of how language usage develops a writer¶s voice, students will
reflect on their personal voice. However, instead of simply writing about their lives or telling a story
about their lives, students will make a short movie that portrays their story through the use of multiple
mediums. After the project is completed each student will share their movie with the class.
½Ê Required items to be found in the completed assignment include: one picture of self, three pictures of
students interests, one use of music, one use of audio outside of music, one reference to the student¶s
favorite book, and one reference to a poem.
½Ê Show students personal example of digital story
½Ê Students will search the web for pictures and audio clips that aid in communicating their voice. They
will also use personal photos that can be scanned or downloaded into the project. Use of audio clips can
be found from the web or from a student¶s personal collection. Each student will also have access to a
digital camera, voice recorder, and flip camera to aid in the completion of the movie.
½Ê All students will have three class periods to complete their movie. Day one will be an introduction or
review of the technology. Day one will also allow students time to organize their thoughts and begin
thinking about what they want to incorporate into their movie.
½Ê Day two will solely focus on gathering materials for the movie and organizing them into an electronic
file. Day three will consist of producing the movie and finalizing the movie. Then they will share it
with the class.

O 1
Students will be assessed from a rubric for completion and use of the required elements.
adapted from http://www.readwritethink.org/classroom-resources/lesson-plans/life-multimodal-autobiography-project-1051.html?tab=1#tabs

.Ê(&Ê
Ê

½Ê /Ê
½Ê ÊÊÊÊ!ÊÊÊ
ÊÊ)!ÊÊÊ)9Êº
.9Ê
½Ê 7Ê.ÊÊ Êº
Ê Ê
½Ê Êº
Ê ÊÊ!
Ê
½Ê
Ê!#ÊÊÊ<$"=Ê/Ê4Ê!D4Ê!D4Ê&DÊ
c
½Ê Ê/Ê
½Ê ÊÊÊ
ÊÊ ÊÊÊ ÊÊÊÊ&Ê
½Ê 4!ÊÊ
Ê/!Ê)!Ê
½Ê 6Ê
ÊB ÊÊ
Ê/!ÊÊ
½Ê
Ê!#ÊÊ$.ÊÊÊÊ!ÊÊÊÊ Ê

½Ê /Ê
½Ê 6Ê
ÊÊ: Ê
Ê
½Ê
Ê%Ê
½Ê
Ê$!#Ê3Ê!ÊÊÊ!ÊÊ
ÊÊ!Ê
½Ê
Ê$!#ÊÊ$.Ê#
ÊÊ!ÊÊ
c

½Ê Ê/Ê
½Ê ÊÊÊÊ
ÊÊÊ#Ê
Ê#ÊÊ7Ê
ÊÊ
9Ê
½Ê 6Ê
ÊÊ: ÊÊÊ4Ê&DÊ
½Ê 4!Ê/!Êº Ê$ Ê
½Ê
Ê$!#ÊÊ/ÊÊÊÊ
ÊÊ-
Ê
4

½Ê /Ê
½Ê Ê.Ê/!Êº Ê Ê
½Ê Ê3Ê Ê
½Ê
Ê$!#ÊÊ$.ÊÊÊ&ÊÊ&ÊÊ
ÊÊÊ& ÊÊÊ
Ê
*1 Understanding the Multigenre Research Project
The lesson is the day for the students to be introduced to the ideas and concepts of the Multi-enre Research Unit. Building off of
what they have previously learned (in earlier units and in the first few days of this unit,) I will continue to scaffold their knowledge of
research, through both traditional forms and multi-genre. In order to perform the tasks that are asked of them through the process of
Multi-enre Research, the students need to become more affiliated with form, audience and purpose. By showing examples, and
engaging students in practicing and recursively looking back on their progress throughout the unit, my goal is for them to hone the
idea of F=A+P
1
½Ê Break down the concept of Multi-enre Research to allow the students to see the differences between
M- and traditional research
½Ê Provide examples of a Multigenre Research Paper
½Ê Explicitly work through each aspect of F=A+P, allowing students to ask questions and provide examples
to better understand the concept
02%1
½ÊStudents will be able to gather a more in-depth understanding of what Multi-enre Research is, and what
it entails
½ÊStudents will be able to distinguish differences between traditional research and M- Research
½ÊStudents will be able to analyze and understand the usage and reasoning for F=A+P
1
#O# +
#O-
.
one¶s own writing
*#1
Understanding Multi-enre Research:
½Ê ³What key components about research stick out in your head? « Thesis statements, 3x5 cards,
research on computers, etc, etc. « Do you enjoy researching topics that you¶re interested in? Well,
if you¶ve been dissatisfied before when doing research, I have a feeling you¶re going to enjoy it this
time « You¶re going to be able to use your technology skills, and creative minds/ideas to create a
research project on someone that you are interested in and who has made a great impact on your life,
either positively or negatively.´
½Ê Understanding F=A+P
ÔÊ ³What do these three words mean? Who can describe the differences between Form,
Audience and Purpose? Why would these three aspects be important when doing a project
like this? How do Audience and Purpose effect the form? Let¶s look at some examples. Do
you think a Facebook page would be an appropriate form of a research project when you¶re
researching drug abuse and presenting it to a classroom full of six graders? What would be a
more appropriate form that project should take? What has other examples of F, A and P that
align?´
½Ê Read examples of a Multigenre Research Paper
½Ê Free Write: What type(s) of genre are your favorite to read? To write?
O 1
½Ê Classroom discussion
½Ê Engagement: questions/answers, film
½Ê Participation

*1Brainstorming: Morality Topics
1 Students to begin brainstorming for their research project, they will discuss controversial topics that
influence and affect them. With the use of ³morality scenarios,´ there will be a wide array of options and
multiple routes for the discussion. This opportunity for students to share ideas within small groups as a group
can bring multiple perspectives, which will be key to forming research questions for tomorrow.
02%1
½Ê Students will be able to begin developing a topic for the research paper
½Ê Students will be able to conduct dialogic discussion within groups as well as with the class.
½Ê Students will be able to gain new perspectives and perceptions from their classmates ± which will help
them form a research topic.
1
#O &

Students know and understand the role of the communication process and demonstrate effective speaking and
listening skills.
½Ê 1.3 apply and evaluate effective listening strategies to fit the purpose, situation, and setting of the
communication
½Ê 1.5 adapt communication to a variety of public, group, and interpersonal audiences, settings and
purposes
#O-
.
1
½Ê Morality scenario hand-out
*#1
½Ê Introduce the possibility of questioning one¶s surroundings. It can be explained that Martin Luther King
questioned his access to equal opportunities in America. This led to the fight for their civil rights, and
eventually a step towards equal opportunity.
½Ê Distribute handouts with morality scenarios. Some of the scenarios can include visual rhetoric. An
example of a morality scenario is, ³In June 2006 two American soldiers were captured in Iraq. Later
their bodies were found, dismembered. Should newspapers have shown photographs of their bodies?
Why, or why not?
½Ê Choose a scenario to discuss with students. Explain your rational verbally as the morality of the
situation is decided. Also ask the following questions out-loud: Does the person act in a ³moral´ or
³immoral´ way? If one¶s actions are immoral, is there support to back their actions or claims
½Ê Ask students to rate the morality of the character from 1 to 5, with 1 being the most moral and 5 being
the least moral.
½Ê Have students read the remaining scenarios individually and rate the morality of the character featured
in each.
½Ê Ask students to discuss their ratings in groups of three, explaining their reasons and identifying one
scenario on which they all agree and another on which they differ.
½Ê Then, discuss each scenario as a class, drawing out the controversies.
½Ê As debate continues, encourage as much student-to-student dialogue as possible.
½Ê Facilitate discussion (if needed) by asking the following: How do people become racist? Why does
poverty exist? What is the ideal society? Is affirmative action fair?
½Ê Finally, ask students to respond to the discussion in their writing journal; either by continuing to voice
their opinions or by making a list of possible topics they are interested in.

O 1
½Ê Completion of ³morality scenarios´ handout
½Ê Discussion in small groups
½Ê Discussion during class
Morality in Context Handout
'7
> ,' ' .>7 0
.0

5 &A BA B7,;'C > #&&0
; '#5
1.Ê Joe Dittering, a Chicago public accountant, recently finished a very busy time of year in his office ± tax
season. As usual, he bragged to his colleagues about how he was again able to squeeze a few more
bucks away from Uncle Sam for his clients. When Marcus, a colleague said, ³Joe, you¶re not

breaking tax codes, are you?´ Joe smirked, laughing under his breath slightly, saying, ³Let¶s just say I
used my creativity! Ya know what I mean?´
1 2 3 4 5
2.Ê Roger Johnson lives in the Robert Taylor Homes, at 53rd and State Streets, on Chicago¶s South Side.
His sixteenth birthday just around the corner, he has maintained a gang-free philosophy throughout his
life. Until now. Repeated pressures and threats to his younger brother, Ishmael (age eight), have forced
him to join the local gang, the Hornets. Later that year, Roger finds himself a part of some activity he
never would have imagined. -ne evening, in the heat of an encounter with another gang, the -verlords,
Roger fatally wounds another young man his age. Weeks later, Roger feels bad for what he did, but can
do nothing to repay the family of the deceased, since he never knew his name.
1 2 3 4 5
3.Ê In June 2006, newspapers across America ran the story about two American soldiers that were captured
in Iraq. To calm the fears of citizens, President Bush announced that things were calming down in the
Middle East and soldiers protection was increasing, but they needed to remain there. Later, the bodies
of the soldiers who had gone missing are found dismembered. The newspapers ran photographs of their
bodies. Was the action of the newspapers immoral or moral?
1 2 3 4 5
4.Ê Claire Taggart was raised to be a vegetarian and is an animal¶s right activist. She even becomes angry
when people argue that it¶s -K to eat meat if animals are raised humanely for the purpose of eating. At
an animal¶s rights rally, she poured a can of red paint on a woman who was wearing a fur coat.
1 2 3 4 5
5.Ê Kate Eddy is a successful AP biology teacher at Waverly High School. Many of her students are
college-bound and excel at science. She always wants the best out of her students and wants them to
really love and know science. -ne of the projects that she requires her students to do is to dissect frogs.
Kate thinks that this project is necessary for students to really gain first-hand experience with anatomy.
In her twenty years of teaching, no student has ever refused to do the project. For the first time, a
student argued that it is cruel and pointless. Kate responded to the student saying, ³The only way you
learn is with first-hand experience. If you decide not to do the project, you will fail the class.´
1 2 3 4 5
*1Brainstorming 2: I wonder«

1
To build upon the previous lesson and to allow the students time to continue brainstorming a possible research
topic.
02%1
½Ê Students will be able to generate research questions in a low-risk environment.
½Ê Students will be able to learn what a ³researchable´ question means as they write a reflection that
responds to the presented questions.
½Ê Students will be able to learn a new method of research.
1
#O &

listening skills.
communication
purposes
#O-
.
1
½Ê ³Sometimes I wonder why«how«if´ handouts
½Ê Research Rubrics
½Ê A list of reflection questions
*#:
½Ê Free Write: Refer to yesterday¶s activities by asking students some of the following questions: ³What
concerns do you have with some of the scenarios presented yesterday?´ ³What questions can you ask
yourself to delve deeper into such questions?´ ³What issues do you wish we could have discussed
yesterday?
½Ê Allow students to volunteer their thoughts, but not to respond to one another as was done previously
½Ê Distribute the hand-outs ³Sometimes I wonder why«how«i
½Ê Instruct students to brainstorm and create questions that can start with ³I wonder why«´ ³I wonder
how«´ ³I wonder if«´
½Ê Place students into groups of three to discuss their responses to the handout
½Ê Tell the groups that this is their writing group
O 1
½Ê Completion of the handout ³Sometimes I wonder why«how«if?´
½Ê Completion of journal reflection
½Ê Participation during class discussion
I Wonder Why Handout

77 ,D 7D';
5 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
+5 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
.5 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
F5 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
G5 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
H5 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
5EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
+5EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
.5EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE

º
;

Ê
$Ê<!Ê =Ê)+ÊÊÊ ÊÊ. ÊÊÊ!ÊÊÊ
!!Ê&'ÊC7
ÊÊÊ
Ê-
Ê&Ê&ÊÊ'ÊC7
Ê!ÊÊ.Ê Ê
Ê&
ÊÊ#ÊÊÊ
ÊÊÊÊ!'Ê4Ê
Ê&ÊÊ ÊÊÊÊ
Ê
ÊÊ
ÊÊÊÊÊÊ!Ê#

'ÊÊ
(Ê!Ê ÊÊÊ'Ê4Ê!ÊÊ
+!'Ê.ÊÊ Ê!Ê ÊÊ
Ê4Ê!Ê&Ê!ÊÊÊÊ ÊÊ!Ê
Ê
Ê
½Ê
<Ê-
'Ê
½Ê º
! !
ÊüÊ!
Ê Ê ÊÊÊ.Ê
ÊÊ&Ê&ÊÊ
Ê.&'Ê6ÊÊÊÊÊÊÊÊ!Ê!.ÊÊÊÊ
!ÊÊÊÊ!!2'ÊCÊ!ÊÊÊÊ
ÊÊÊ&'Ê
½Ê º
! !
7
½Ê c! !
7
½Ê º

7

< ! !
<
½Ê : = '
'Ê*Ê&ÊÊEÊ
½Ê º

7
½Ê

7ÊÊüº7Ê
ÊÊ'Ê3ÊÊÊÊ&ÊÊÊ'Ê4Ê
-!ÊÊÊÊ 2'Ê

( !

#
-Tom Romano
Romano, Tom. 2000. Blending enre, Altering Style: Writing Multigenre

Papers. Portsmouth, NH: Heinemann-Boynton/Cook.
The following provides a rationale on both the Writing Workshop and the need for -ne-to--ne student/teacher
conferences about writing.
Adapted from Penny Kittle
(#(!)%)
Writing Workshop is predictable, so students plan for time to write and continue to imagine crafting when not
in school.

½Ê understands what time looks like: what writers do with time to work (list, work in notebooks, read,
½Ê collaborate on writing, confer with others, draw, storyboard, observe, think, wonder, procrastinate)
½Ê considers balance of study and teaching, so writers have time each day to work independently
½Ê knows the needs of her writers so that constant observation and reflection during the workshop leads
½Ê to lessons designed to advance what they need at the moment: when to draw them together, when to
½Ê add something to challenge them, when to give them more time to work, when to push to the finish
½Ê listens to student feedback about conditions, structures, and plans
- 7555
½Ê time to decide what to say. If there¶s anything to say. Time to blast away, carving out an idea.
½Ê time to breathe, relax, think, sketch. To make lists, to sift through all that was absorbed the day before
½Ê and look at things more closely. To slow down and let my mind sort or sift or settle on something and
gnaw away at it.
½Ê time to count on. If something occurs to me during the day, I can store it away, knowing I¶ll have time
½Ê to write soon, and the idea will resurface then.
** )
1
½Ê listens first. The writer knows more about the piece than the teacher.
½Ê articulates what is working and why, helps a writer see the smart moves made in his piece
½Ê plans for conferences, organizes workshop time to allow for a few minutes beside each writer
½Ê teaches students how to confer well with each other: outlines hurdles and possibilities; practices
½Ê values the response of students to her work; listens, records, and uses feedback from students in her
½Ê drafts and shows students how it helps her consider her purpose, her audience, & her choices in craft
- 7555
½Ê gentleness. I¶m giving you a draft I¶m not sure of; don¶t crush me
½Ê to believe in the possibilities of this piece
½Ê tell me where my writing falters and where it sings, show me what is missing and what feels complete
½Ê show me how you follow my thinking, see my experiences, respond to my ideas
*:!: The Writing roup
1
½Ê To use peer review as a tool in creating stronger writing.
½Ê To aid students in continuously brainstorming and revising their writing with peers.
Research abounds in favor of having writing groups in the classroom. Students are to be placed in
groups of three to help each other brainstorm, review, and revise their writing throughout the entire project.
Teachers have turned their classrooms into communities of learners, as the focus of writing pedagogy shifts
from written products to writing as a process, and as ways of making knowledge--including writing--are viewed
from a collaborative or social perspective (Bruffee, 1983) Writing instruction in our classrooms reflects a
growing appreciation for the value of talk. By implementing peer writing groups, teachers encourage students to
give, seek, and react to oral feedback among themselves as they write, in addition to reacting to the teacher's
traditional comments on finished papers. Murray (1982) recommended that teachers train students to respond
constructively to writing in process; Moffett (1983) suggested that teachers teach students to teach each other;
and Bruffee (1983) maintained that getting students âto talk throughâ the task of writing is a form of
collaborative learning that is essential.
Writing groups aid students in finding their voice for a particular audience. Students who do not receive
a reaction form a group typically do not anticipate an audience at all, hence reflecting a lack of voice and form.
Small groups can help apprehensive or blocked writers become more fluent and can provide an audience that
assists the writer in revising. Forming a classroom community can aid the helpfulness of the writing group. In
their groups students feel less like they are being attacked and more receptive to the ideas and advice their peers
are articulating. Writing groups can also help students during revision and editing by allowing more than one
set of eyes to review the document; which leads to a higher probability that errors will be caught. Today¶s
learners value the opportunity to share their work and to be able to talk through their problems.
Bruffee, Kenneth A. âWriting and reading as collaborative or social acts.â In The Writer's Mind: Writing as a Mode of Thinking, pp. 159-169.
Macrorie, Ken. Writing to be Read. Upper Monclair, New Jersey: Boynton/Cook, 1984. Moffett, James. Teaching the Universe of Discourse. Boston:
Houghton Mifflin, 1983.
Murray, Donald. Learning by Teaching: Selected Articles on Writing and Teaching. Upper Montclair, New Jersey: Boynton/Cook, 1982. [ED 230
962; not available from EDRS]

&'-
#&

1. Come prepared with your piece to share.
2. As a group assign a ³Time Cop´ ±the Time Cop is crucial for stability of the group performance. This
position can rotate amongst member
3. Spend the first few minutes of each meeting reconnecting with one another and setting an agenda for the
session.
4. As a responder, read and listen very carefully and patiently, ask probing questions, and be honest.
Remember, one of your central goals is to help your group members get to know themselves better as writers-
get them to talk about their writing and writerly selves.
5. Remember that sharing one¶s writing is generally a very vulnerable act²work to find the balance between
support/encouragement And pushing your group members to become the best writers they can be.
-
#&AB

Each group member needs to feel that they are getting help on their writing but also on their contributions to the
group are valued and that the group is functioning productively.
1. SUPP-RT/ENC-URAEMENT: a sense that their ideas and words are being listened to and considered,
and that there are things they are doing well in their writing.
2. IDENTIFICATI-N -F TR-UBLE SP-TS: explanations of how the part of the writing that worry the
writer affect various readers; explanations of why carious
readers react to places in the writing that concern them.
3. PR-CESS STRATEIES: a range of things they might try to go further with their writing, especially in
managing the writer¶s own concerns.
This document is adapted from ³Modeling and Structuring Small Response roups,´ a handout created by Dr. Robert Brooke, professor of English at
University of Nebraska-Lincoln. Later reproduced by Professor Rob Petrone at Montana State University
.Ê(Ê
Ê

½Ê /Ê
½Ê ÊÊÊ6ÊÊ!ÊÊ& ÊÊÊÊÊÊ
½Ê 6Ê
ÊÊ$# Ê -Ê6 ÊÊB Ê3+ ÊÊ
½Ê 3ÊºÊ%Ê
½Ê "+-Ê6 Ê%Ê
½Ê 7Ê.Ê(Ê
Ê/!ÊÊ
½Ê
Ê!#ÊÊÊ0ÊÊÊÊÊ!ÊÊÊÊÊÊÊÊ&ÊÊ
c
½Ê Ê/Ê
½Ê ÊÊÊ(Ê
ÊÊÊ
ÊÊÊÊ
½Ê 6Ê
Ê#Ê ÊÊ$Ê?!Ê$!Ê
½Ê
Ê!#ÊÊÊ#
ÊÊÊ!Ê!Ê

½Ê /Ê
½Ê ÊÊÊ6Ê ÊÊÊÊ ÊÊ&ÊÊÊÊÊ
ÊÊ
½Ê 7Ê.ÊÊ(Ê
Ê/!ÊÊ
½Ê *++*Ê!!Ê
½Ê
Ê$!#ÊÊ(!ÊÊ
c

½Ê Ê/Ê
½Ê ÊÊÊÊÊÊÊ# Ê
Ê&9Ê
½Ê 6Ê
ÊÊ%Ê%Ê
½Ê 7Ê.ÊÊ*++*Ê!!Ê#&Ê)
ÊÊ7ÊÊ&Ê
½Ê
Ê$!#ÊÊÊÊ
4

½Ê /Ê
½Ê 6Ê
ÊÊ4Ê(Ê !ÊÊ9Ê
½Ê Ê3Ê Ê
½Ê
Ê$!#ÊÊ$.Ê#
ÊÊ#Ê ÊÊ& Ê
Ê
*1 Avoiding Sexist Language by Using ender-Fair Pronouns
1
Students will learn about gender in writing and what pronoun choices reveal about language use
02%1
½Ê Students will explore the ways that language and gender stereotyping interact.
½Ê Students will experiment with ways of using language to create gender-fair texts.
½Ê Students reflect on their own language practices and what those practices reveal about their understanding
of gender roles and language.
1
#O-
½Ê 5.7: articulate and evaluate the purpose and audience, and select and use appropriate format, and tone in
one¶s own writing.
½Ê 5.8: write using a variety of forms and genres and evaluate one¶s own and others¶ writing for
effectiveness of form and genre.
*#1
½Ê ive students the following in-class writing assignment:
Write a narrative explaining why the characters listed below find themselves in a hall outside a courtroom. Please
use pronouns clearly when you refer to the characters so that I can easily tell to which characters you refer and so
that I know who does what. (If you want, you may even give the characters names to identify them.) Because this
is an in-class assignment, I will not grade the paper for spelling and minor punctuation mistakes. You have 25
minutes to write your narrative. Have fun with your story! The Characters: an attorney, a physician, a police
officer, a judge, a teacher, a professor, and a nurse
½Ê After the students have completed their stories, ask for volunteers to read their narratives allowed.
While they are reading, tally whether each character is male or female on the board or overhead.
½Ê Ask remaining students who did not share their stories which gender they assigned to each character.
This can be done by asking the class to raise their hands in accordance to which gender you are asking
about. Tally the responses and compute final totals.
½Ê Share the Student Ascription of ender Tables for groups of students who completed the assignment in
1987 and 1997. Ask students to identify biased job roles represented on the chart.
½Ê Compare the information on the chart with the assumptions revealed on the lists on the board. Invite
student discussion of the gender assumptions that the numbers on the chart and on the board reveal.
½Ê Turn to the way that language has shaped these assumptions, what the choice of âheâ rather than âsheâ
communicates about our ways of thinking about the world around us. Distribute information on the use
of gender-fair language.
½Ê For homework, ask them to read their narrative and write a reflective piece that explores how their use
of pronouns reveals their assumptions about others. The general question for their reflection is this:
What do you notice now about the language that you used in your narrative that you didn't notice when
you originally wrote it, and how does your use of pronouns play a role in what you notice? The piece
should be informal. Students' self-reflection is the primary goal.
" O 1

Feedback on the activity should focus on students' self-reflection rather than ârightâ or âwrongâ choices that
they may make with their pronouns. Read the pieces and comment on the self-reflections, noting important
self-observations that students make and asking provoking questions where they need to think more deeply.
adapted from Traci ardner http://www.readwritethink.org/classroom-resources/lesson-plans/avoiding-sexist-language-using-201.html?tab=4#tabs
$ I
#

Writing in a non-sexist, non-biased way is both ethically sound and effective. Non-sexist writing is necessary
for most audiences; if you write in a sexist manner and alienate much of your audience from your discussion,
your writing will be much less effective.
"
Although MAN in its original sense carried the dual meaning of adult human and adult male, its meaning has
come to be so closely identified with adult male that the generic use of MAN and other words with masculine
markers should be avoided.
½Ê
1 mankind
½Ê O%1 humanity, people, human beings
½Ê
1 man¶s achievements
½Ê O%1human achievements
½Ê
1 man-made
½Ê O%1 synthetic, manufactured, machine-made
½Ê
1 the common man
½Ê O%1 the average person, ordinary people
½Ê
1 man the stockroom
½Ê O%1 staff the stockroom
½Ê
1 nine man-hours
½Ê O%1 nine staff-hours
#&
Avoid the use of MAN in occupational terms when persons holding the job could be either male or female.
½Ê
1 chairman
½Ê O%1 coordinator (of a committee or department), moderator (of a meeting), presiding
officer, head, chair
½Ê
1 businessman
½Ê O%1 business executive, business person
½Ê
1 fireman
½Ê O%1 firefighter
½Ê
1 mailman
½Ê O%1 mail carrier
½Ê
1 steward and stewardess
½Ê O%1 flight attendant
½Ê
1 policeman and policewoman
½Ê O%1 police officer
½Ê
1 congressman
½Ê O%1 congressional representative
Historically, some jobs have been dominated by one gender or the other. This has lead to the tendency for a
person of the opposite gender to be âmarkedâ by adding a reference to gender. You should avoid marking the
gender in this fashion in your writing.
½Ê
1 male nurse
½Ê O%1 nurse
½Ê
1 woman doctor
½Ê O%1 doctor
http://owl.english.purdue.edu/owl/resource/608/01/
Ê
5#
;

>
*2+/ *22/
Ê
Ê

Ê Ê 4 Ê Ê
> ÊÊ 0ÊüF2ÊÊ ÊüF2ÊÊ GÊüF2ÊÊ

!Ê*!ÊÊ 0ÊüF2ÊÊ ÊüF2ÊÊ GÊüGF2ÊÊ
!ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ
$ÊÊ GÊüF2ÊÊ ÊüF2ÊÊ 1ÊüGGF2ÊÊ
ÊÊ ÊüF2ÊÊ ÊüGF2ÊÊ ÊüF2ÊÊ
(!ÊÊ 5Êü00F2ÊÊ Êü5F2ÊÊ 0Êü0F2ÊÊ
"ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ

*1 Persuasive Writing: A Kinesthetic Approach
1
Students will formulate an opinion and learn to support it by participating in kinesthetic activities that require
them to share thoughts with like-minded students and face off against opponents.
02%1
½Ê Students will be able to create a persuasive paragraph and/or essay with a main idea and supporting
points.
½Ê Students will be able to form and discuss arguments refuting their opponents and a strong conclusion.
1
#O &

listening skills.
communication
#O-
.
one¶s own writing
1
½Ê Writing Journals/Pen
*#1
½Ê Ask students to draw a line with two arrows at either end of a page of paper. Label one end ânoâ and the
other end âyes.â Next, ask them to make an X representing where they stand on a controversial
statement.
ÔÊ Example: Students should wear uniforms in school. If they agree, they draw an x on the âyesâ
end of the continuum; if they disagree, they draw an x on the ânoâ end; if they are undecided
they draw an X somewhere in the middle.
½Ê Next, ask students to write down three reasons why they marked the x at the yes or no end.
½Ê Students then are directed to two corners of the room where they will share ideas and add to their list of
supporting points. -ne corner is for those who marked an X on or near the âyesâ on their continuum; the
other is for those who marked the ânoâ end. Those who were somewhere in the middle of the continuum
will visit both corners to hear two sides of the issue. Eventually, they must take a stand and record
supporting points for their position.
½Ê Students meet in their corners, read from their lists of supporting points, and strengthen their arguments.
½Ê When students finish writing their lists, they return to their seats. The teacher explains that a strong
persuasive piece of writing will address opposing arguments. This is when students face off to refute
each other.
½Ê Four volunteers for the âyesâ side line up facing four volunteers for the ânoâ side. A student offers a
point in support of his position, while the opposing student in line refutes the point and then offers a
supporting reason for his side. This goes back and forth for awhile and new volunteers can be invited to
come up and âface offâ in front of the class.
½Ê Next, students write their paragraph or essay with a main idea, supporting points, arguments refuting
their opponent and a conclusion that restates their main idea and explains the bottom line or why the
issue is important.
O 1
Students are not formatively assessed, but periodically checked for understanding. During student-teacher
conferences persuasive writing should be addressed.
Independent practice (homework): Students write a persuasive paragraph/ about their research topic in their
Writing Journals. Later this is used to aid the student in forming an preface for their papers.
http://www.lessonplanspage.com/LAKinestheticApproachPersuasiveWriting510.htm
*1 Horrid Homophones
When writing, students often confuse and misuse words that sound alike but have different meanings. Words pairs such as your-
you're, whose-who's, there-their, and past-passed are examples of theseâ horrid homophones´ where mistakes are not evident in
speech but are only too evident in writing! This activity is designed to remind students of the specific meanings and correct usage of
some of these often confused words.
1 This activity is designed to teach students to think about the specific definitions of commonly misused
words and to use them correctly in sentences.
02%1 Students will do the following:

1. Learn the correct definitions for a predetermined list of commonly misused homophones.
2. Use each of the words on the list correctly in a sentence.
3. Recognize that writing words that sound alike requires the writer to be careful and more specific than when
speaking.
1
#O-
.
½Ê 5.6 apply conventions of standard written English (e.g., usage, punctuation, spelling) appropriate for
purpose, audience, and form
1 The teacher will need a list of words that have homophones and are often misused by students in
their writing. The following is a list of homophones that might be used.
1. to, too, two 8. aloud, allowed 15. capital, capitol
2. who's, whose 9. acts, ax 16. its, it's
3. your, you're 10. guessed, guest 17. patience, patients
4. there, their, they're 11. so, sew, sow 18. pair, pear, pare
5. past, passed 12. sight, cite, site 19. sail, sale
6. close, clothes 13. stationary, stationery 20. sent, scent, cent
7. blue, blew 14. principal, principle
½Ê Whiteboard/markers
*#1
½Ê Divide the class into groups of five, which will be their team for the activity. -ne student from each
group will go to the whiteboard and I will pronounce one word that has a homophone. Each student at
the board will then write a sentence that contains both forms of the word used correctly in the same
sentence.
ÔÊ For example, if I pronounced the word âthrewâ or âthrough,â the student might write a sentence
such as the following: âI threw the rock through the window.â
½Ê I will act as scorekeeper and give points to each team for each correct sentence as the activity proceeds.
The students at the whiteboard should be replaced by new students after each homophone pair is used
until every student has had a chance to write a sentence at the whiteboard. The team with the most
points is declared the winner.
½Ê At the end of the game I will conclude by discussing with the students ways that the writer has to be
more specific than the speaker. This discussion can include the reasons for good spelling, punctuation,
grammar, etc«
½Ê I will perpetuate the discussion by asking the students if they have recently seen any examples of
homophones used incorrectly.
½Ê Next I will pass out a copy of Janet E. Byford¶s poem, -%)*
and ask students to
replace the incorrect words with their correct homophone.
O 1
Students can be assessed throughout the game and discussion for understanding. Assessing the poem for
correctness and completion can also be done.
http://www.youth.net/cec/ceclang/ceclang.54.txt
O &
4#
Prays the Lord for the spelling chequer
That came with our pea sea!
Mecca mistake and it puts you rite
Its so easy to ewes, you sea.
I never used to no, was it e before eye?

(Four sometimes its eye before e.)
But now I've discovered the quay to success
It's as simple as won, too, free!
Sew watt if you lose a letter or two,

The whirled won't come two an end!
Can't you sea? It's as plane as the knows on yore face
S. Chequer's my very best friend
I've always had trubble with letters that double

âIs it one or to S's?â I'd wine
But now, as I've tolled you this chequer is grate
And its hi thyme you got won, like mine.
²Janet E. Byford
*1Is This Sentence a Poem
1
Students will experiment with both poetry and technology as they assess what a poem is.

02%1
½Ê Students will be able to analyze a one-sentence poem to develop a working definition of poetry.
½Ê Students will be able to apply the working definition to their creative work.
½Ê Students will be able to justify critically assertions regarding their classification of their creative work.

#O!
1Students read by applying foundational skills and
strategies to comprehend, interpret, analyze and evaluate texts.
½Ê 2.6 make, revise, and justify predictions
½Ê 2.10 make and justify complex inferences within and among multiple texts and/or forms of media
#O# +
#O-
and genre


and operations.
1
½Ê Internet access on computers with the Flash plug-in installed
½Ê Copies on the board of the poem(s) to be discussed
½Ê âThe Red Wheelbarrowâ by William Carlos Williams, or another one-sentence poem:
½Ê ³To²´ (³I heed not that my earthly lot´) by Edgar Allan Poe
½Ê ³When You Are -ld´ by William Butler Yeats
½Ê âI like to see it lap the milesâ (#585) or ³Pass to thy Rendezvous of Light´ (#1564) by Emily
Dickinson
½Ê âBright Starâ by John Keats
½Ê 'âThe New Dogâ by Linda Pastan
½Ê -ne or more of the following images, or an image that you have selected:
½Ê Copley House door, Boston
½Ê Clematis near fence
½Ê Cape May lighthouse
½Ê Rural house
½Ê Horse swing
½Ê Snowy woods
½Ê Maple tree in the Spring
½Ê " !O(
Venn Diagram, 2 Circles

This interactive tool allows students to create Venn Diagrams that contain two overlapping circles, enabling
them to organize their information logically.
½Ê *!"
A Sentence as a Poem
WEBSITES
Ê Wikipedia entry on the word poetry
Ê
#1Students are given a picture and asked individually to describe the picture in one
sentence of less than twenty words. Afterward, the class analyzes syntax, imagery, and meaning in a chosen
one-sentence poem by a canonical author to decide what makes it a poem. Students return to their own
descriptive sentence to decide whether it is, is not, or could be a poem, justifying their reasoning. This exercise
encourages students to dissect an established poem while defining the characteristics of the genre of poetry.
Students then apply their knowledge during reflection upon their own work.
4#'*#: &:O%
1.Ê Have students view the image that you've chosen and write a sentence of less than 20 words describing
the picture. You can have students choose which picture to describe or pass out pictures to the class,
ensuring a wide range of difference is represented in the class. You may, of course, also use only one
picture for the entire class.
2.Ê Students should set their sentences aside as you begin a discussion of poetry.
3.Ê Ask the students to write their own definition of a poem. Then, lead a class discussion that focuses on
the following questions:
ÔÊ What is a poem?
ÔÊ What makes a poem a poem?
ÔÊ Does a poem have a certain look, length, feel, purpose?
Compile students' responses on the board, so that they can return to the information later in the lesson.
4.Ê Have students compare their definitions with those in Wikipedia entry on the word

5.Ê Read the chosen one-sentence poem. âThe Red Wheelbarrowâ by William Carlos Williams
Lead a class discussion that focuses on the following questions:

ÔÊ What are the poem-like qualities in this piece?
ÔÊ Is it a poem (take a vote if necessary)?
ÔÊ What makes it/ does not make it a poem?
Encourage students to refer to the Wikipedia entry and their own notes on the board. Using the Interactive
Venn Diagram chart out students' observations about what makes a poem and what makes a sentence.
-ptionally, you can use the Venn Diagram to explore the features of the particular poem that you've chosen.
6.Ê Have students return to the sentence/poem that they wrote at the beginning of the session, and complete
the A Sentence as a Poem handout, revising and formatting their sentences into a poem. Also, have the
students add a second definition to their personal definition of what a poem is.
# 1If time allows, ask for volunteers to share their sentences/poems and reflections. A
concluding discussion can be held that recognizes positive aspects of their classmates work.
O 1Each student will be assessed on his/her completion and correctness of the handout. They will
also be assessed on their definition of poetry and how it changed from their first definition in the pre
assessment.
O !1Students will be pre assessed during the discussion of what a poem is. They will first
be asked to write a sentence of what they think a poem is. After collecting research the students will then again
be formatively assed as they discuss the aspects of the particular poem chosen for class. As the students
complete the Venn Diagram model I will assure that they are in complete understanding by asking questions to
perpetuate their work on the diagram.
As with any creative writing activity, assessment needs to be open-ended. Phrase comments as questions so as
not to discourage students from future creative attempts. Instead of commenting, ³This simile doesn¶t really
work,´ write, ³How could this simile work better in the poem?´ or ³Is there a simile that is even more specific
and unique?´ If you choose to grade the sentence poems, do so based on what students have learned about
poetry. Did they include figurative language and descriptors? Did they justify themselves well when answering
whether their sentence was a poem?
Adapted http://www.readwritethink.org/classroom-resources/lesson-plans/sentence-poem-246.html?tab=1#tabs
.Ê Ê
Ê

½Ê /Ê
½Ê 6Ê
ÊÊ ÊÊ
½Ê 7Ê.Ê(Ê
Ê/!ÊÊ
½Ê
Ê!#ÊÊÊ ÊÊÊÊ
c
½Ê Ê/Ê
½Ê ÊÊÊºÊÊ9ÊÊ%&9Ê
½Ê 6Ê
Ê3 Ê4Êº
ÊÊº#
Ê Ê .
Ê
½Ê
Ê!#ÊÊÊÊÊ-
Ê7#ÊÊ&ÊÊÊ&ÊÊÊÊ
! 9Ê

½Ê /Ê
½Ê ÊÊÊÊÊÊ#Ê
!Ê
½Ê Ê3Ê Ê
½Ê 7Ê.ÊÊ(Ê
Ê/!ÊÊ
½Ê *++*Ê!!Ê
½Ê
Ê$!#ÊÊ(!ÊÊ
c

½Ê Ê/Ê
½Ê 6Ê
ÊÊ# ÊÊ(ÊÊ4 ÊÊ$ÊÊÊ(!
Ê
½Ê
Ê$!#ÊÊÊÊÊÊ
ÊÊ
4

½Ê /Ê
½Ê /#&ÊÊÊ
Ê/!Ê)!Ê
½Ê
Ê!ÊÊ!!ÊÊÊ
½Ê 6Ê
Ê*
ÊÊ
½Ê *
ÊÊ%,/!Ê
½Ê 7Ê.ÊÊ(Ê
Ê/!ÊÊ
½Ê
Ê$!#ÊÊÊ ÊÊÊÊÊÊ&Ê9Ê
Ê
*1 Found Poetry
1 To introduce students to Found Poetry and how to create it.
02%1
½Ê Students will be able to define found poetry
½Ê Students will be able to create a found poem
½Ê Students will be able to reflect and discuss how to use found poetry in their research.
1
#O &

listening skills.
communication
purposes
#O,
Students effectively evaluate and create media messages.
#O-
.
and genre
½Ê 5.9 compose a variety of written works utilizing complex ideas and detailed support that demonstrates
the ability to maintain a sustained focus

1
½Ê Computer with Internet/Projector
½Ê Video Clips
ÔÊ http://www.youtube.com/watch?v=NvgD9HNTMkM Cleveland vs. Lebron James
ÔÊ http://www.youtube.com/user/PositivelyCleveland?feature=pyv&ad=5435864188&kw=clevelan
d&gclid=CNbf6qmq36UCFUS5KgodWXxJ4g#p/u/0/7-aLUHxP05s Cleveland video
ÔÊ ,,&&&''!,&!9#H&#(0 GIH
What is community?
ÔÊ http://www.youtube.com/watch?v=Iuy1SYo-r8&feature=related Why run?
ÔÊ Any short video clip or documentary with words. It is best to follow student interest or a current
topic.
½Ê Writing Journal
*#1
½Ê Introduce the concept of a found poem
½Ê Instruct students to write down words or phrases that they hear in the video.
½Ê Play video
½Ê After video, ask each student to share one phrase that stuck out to them in the video
½Ê Instruct students to write a poem using the words they recorded.
ÔÊ Each poem must be 14 or fewer lines long.
ÔÊ You may give it your own original title if you like.
ÔÊ The poem itself should use

. The rest of the words and phrases
should come from the video.
ÔÊ You might choose to write in a traditional poetic form, or not.
ÔÊ Remember that in a poem, every word, space and mark of punctuation carries meaning, so have fun
experimenting with line breaks, repetition of words, alliteration, assonance, shape or anything else
that enhances what you¶d like to say.
½Ê Model your own poem
½Ê Ask for volunteers to read their found poems
½Ê Instruct students to get into their writing groups and brainstorm how they could use found poetry in their
projects
O 1
Students can be assessed during participation and for overall understanding while in group discussion.
*1oing Into Detail: Developing Proofreading Skills
1
Students will develop proofreading skills and recognize why proofreading is important
-bjectives:
½Ê Students will be able to recognize errors in multiple texts.
½Ê Students will be able to discuss why proofreading is necessary and cite examples.
½Ê Students will employ skills for proofreading.

#O-
.
½Ê 5.6 apply conventions of standard written English (e.g., usage, punctuation, spelling) appropriate for
purpose, audience, and form
one¶s own writing.
1
½Ê Computers with Internet access/ or blog Handout
½Ê projector
½Ê grammar manuals
½Ê dictionaries
½Ê images of signs and other materials that contain mechanical errors
*#1
½Ê Before students arrive, place images of signs and other types of textual displays that contain errors
around your classroom. Sources might include photos from Web sites like the rammar Vandal, the
reat Typo Hunt, Cake Wrecks and the Times slide show ³A Sampling of Chinglish.´
½Ê Tell students to take their notebooks and pens with them as they circulate silently and look at all of the
signs. Tell them to write down what they notice about the images, but do not tell them directly that they
are to find errors.
½Ê When they are finished, ask for their observations and go from image to image, noting what error
appears and how it should be corrected. Ask:
ÔÊ How could have these errors been prevented?
ÔÊ Why do you think we noticed them but the creators of these items did not?
ÔÊ What makes these errors funny?
ÔÊ When might grammatical and mechanical errors actually cause serious problems, for both the
writer and the reader?
ÔÊ In what situations is it especially important to get every last detail right?
½Ê Next have students discuss their own experiences with proofreading. Ask:
ÔÊ How does proofreading differ from revising and editing?
ÔÊ When and what do you proofread?
ÔÊ Have you ever proofread something carefully but later learned that you still had mistakes?
ÔÊ If so, what do you think caused the errors?
½Ê Ask students to share the errors that had cropped up (or continue to crop up) in their writing. Create a
list of common writing errors on the board and have students copy the list in their notebooks. Tell them
they will add to their lists throughout this lesson.
½Ê Read the following blog post with the class (project, or at personal computers): ³Not the ³hook´ the
Admissions -ffice Had in Mind´ by Dave Marcus from ³the choice´ blog
http://thechoice.blogs.nytimes.com/2010/10/29/hook/
½Ê As a class read the comments on Dave Marcus¶s blog post, paying special attention to Comments 6, 7, 8,
13, 14, 15, 23, 25, 27, 29 and 30, which focus on proofreading.
½Ê Tell them to add to their error lists anything that is relevant to them and their own writing, and then do
the same with this list of common writing errors.
½Ê Create a class T-chart that shows in the left column obstacles to effective proofreading (like not knowing
errors are present, too little time and resistance to doing more work when the writing seems complete).
In the right column, have students come up with strategies for overcoming each obstacle. For example:
ÔÊ Read the text aloud (or ³aloud in the head´) slowly, pausing to make corrections when anything
sounds ³not right´
ÔÊ Listen as another person reads aloud, stopping him or her in order to jot corrections, as needed
ÔÊ Read each sentence backward, looking at each word in isolation to catch spelling errors
ÔÊ Scan for question words (who, what, where, when, why and how) that begin sentences, then
check the end punctuation
½Ê Wrap up by returning to the discussion that ended the warm-up activity: how mistakes that are not
caught in proofreading can potentially harm someone¶s chances of getting into a college, gaining
employment or receiving a promotion at work. And on the receiving end, errors can undermine reader
and consumer confidence and cause confusion.
O 1
Students should be assessed throughout the activity through participation and general observation. Before
students leave for the day they can be asked to write down answers to the following questions:
½Ê Why is it important that you proofread now? When will you need to proofread in 5 years? 10 years?
½Ê What strategy can you see yourself using to proofread your paper for this assignment?
The above questions can be used to gauge what the students have learned and where students may need
additional help.
http://learning.blogs.nytimes.com/2010/11/08/going-into-detail-developing-proofreading-skills/#more-39673
http://thechoice.blogs.nytimes.com/2010/10/29/hook/
*1Weaving the Threads: Integrating Poetry Annotation and
Web Technology
1
Students will explore Native American poetry through the use of different technologies. This project provides
the organizational support (the poem) to help students learn more about the nature of hypertext composing.
02%1
½Ê Students will investigate a poem in depth.
½Ê Students will use a combination of print and electronic sources in their inquiry for information.
½Ê Students will develop a greater sense of awareness regarding textual cues such as color, the hypertext link,
and images in the role of meaning-making.
½Ê Students will create a Website based on a Native American poem.
½Ê Students will write for an authentic audience.
½Ê Students will go into depth about a single poem and culture.
#O, : Students effectively evaluate and create media messages.
#O-


and operations.
O "

+1 The ideologies of Native traditional beliefs and spirituality persist into
modern day life as tribal cultures, traditions, and languages are still practiced by many American Indian people
and are incorporated into how tribes govern and manage their affairs.
O "

1History is a story most often related through the subjective experience of
the teller. With the inclusion of more and varied voices, histories are being rediscovered and revised. History
told from an Indian perspective frequently conflicts with the stories mainstream historians tell.
*#:%%71(used as an extended lesson plan option)

Using a poem as the foundation for further investigation into a culture can be very rewarding and highly
engaging, especially when students can compose in an electronic format and use a combination of print and
electronic sources in their quest for information. After reading and discussing several poems by modern Native
American writers, students individually or as a class select one for further investigation. Sample poems to use
include: ³A Picture´ by Simon -rtiz, ³Eagle Song´ by Joy Harjo, ³Homeland´ by Karenne Wood, and ³Flood
Song´ by Sherwin Bitsui. Students also could also conduct research via the internet or in the school library to
find a poem of their choice. Next, they identify key words and phrases in the poem and use them as a starting
point for research. Students will create a Website that uses the poem as the opening screen. Each page in the
Website should link to several other places within the Web, and there should be a link back to the opening
screen so that readers can choose their direction. Students can also work on this project in teams, with each
team taking a poem or working on a single word or phrase in a whole class project. Finally, students publish
their work on the Internet, allowing them to write for an authentic audience beyond the confines of the
classroom and the school.
Students will have three days to complete the entire project. -ne day will be used for finding a poem and
analysis. The remaining two days will be to complete the website. Much of the assessment for this project will
be in the form of observations and individual or group conferences with students. In addition to the number of
pages included in the project, students should include at least one image per page, provide an average of three
working links (one of which returns the reader to the poem) per page, write an average of one or more
paragraphs per page (with the exception of definitions), have a minimum of surface errors, and cite all
references.
O 1
A final checklist will be provided for the students and a rubric will be used to assess each project and provide a
final grade.
Adapted http://www.readwritethink.org/classroom-resources/lesson-plans/weaving-threads-integrating-poetry-36.html?tab=1#tabs
*1 Final Presentation uide and -ral Presentations
1 Students will be instructed on what is required during their Multigenre project presentations
02%1
½Ê Students will learn the guidelines for giving an oral presentation
½Ê Students will be able to create an oral presentation.
1
#O &

Students know and understand the role of the communication process and demonstrate effective speaking and listening skills.
½Ê 1.1 analyze the complex relationship of the components of the communication process and evaluate their impact on
effectiveness
½Ê 1.3 apply and evaluate effective listening strategies to fit the purpose, situation, and setting of the communication
½Ê 1.5 adapt communication to a variety of public, group, and interpersonal audiences, settings and purposes
1
½Ê -ral presentation guidelines handout
½Ê Presentation outline
*#1
½Ê Introduce to students the idea of orally presenting their Multigenre Projects.
½Ê Handout presentation guidelines
½Ê Read an example of an oral presentation from a Multigenre example used earlier in the unit.
O 1
½Ê Check for understanding of guidelines by surveying students for general knowledge
½Ê -ral presentation will be assessed by a rubric.

-

;
(Ê
Ê Ê&
ÊÊÊ+1ÊÊ
ÊÊÊÊÊÊÊ!
ÊÊ& , ÊÊÊÊ
ÊÊ!
Ê 'ÊÊ1ÊÊÊÊ # ÊÊÊÊÊÊÊ
ÊÊ'Ê
(Ê
& Ê!Ê&
ÊÊÊÊÊÊÊ
º

Ê
(. + !ÊÊÊÊ+1Ê +$
Ê Ê!ÊÊÊ

Ê +Ê-,
ÊÊ&
Ê#
Ê
#Ê + !ÊÊ&
ÊÊÊÊ +Ê-,

ÊÊ&+!Ê
+-!
Ê#
Ê
#Êü.ÊÊ &Ê#Ê&ÊÊÊ ÊÊ
Ê +3ÊÊ-!
Ê
Ê&Ê#!
Ê-#2Ê Ê
+-!
Ê+#
Ê
#Êü-!
Ê Ê
Ê!!Ê!#Ê Ê Ê
#Ê Ê
ÊÊÊ#
Ê2Ê Ê
) )
+ !ÊÊÊÊ+1Ê +$
Ê Ê!ÊÊÊ

; Ê +Ê-,
ÊÊ#
Ê
?Ê + !ÊÊÊÊÊ +Ê-,
ÊÊ&+!Ê
+3Ê#
Ê
#Êü.ÊÊÊ &Ê&Ê ÊÊ
Ê&ÊÊ#!
Ê-#2Ê +3ÊÊ Ê
+3Ê+#
Ê
#Êü ÊÊ Ê
!!Ê Ê
Ê Ê#ÊÊ Ê
ÊÊ#
Ê2Ê Ê
3 3
+ !ÊÊÊ

Ê
ÊÊ +Ê Ê!ÊÊÊ

"
Ê +Ê-,
ÊÊ
Ê
Ê Ê #
Ê
+ !Ê&ÊÊ#!ÊÊ +Ê-,
ÊÊ&+!Ê
Ê &ÊÊ ÊÊ
+ !Ê#
Ê
#Êü.ÊÊ +3ÊÊ!Ê
ÊÊ!ÊÊÊÊ2Ê Ê
+ !Ê+#
Ê
#Êü .Ê Ê
.Ê!ÊÊ!!Ê!!
Ê Ê
Ê#ÊÊÊÊ Ê
#
Ê2Ê Ê
% %
+ !ÊÊ
ÊÊÊÊ + Ê Ê!ÊÊÊ
:( + !Ê&Ê

Ê#!ÊÊ +Ê-,
ÊÊ
Ê

Ê #
Ê
+8
Ê
#ÊÊ#Ê +Ê-,
ÊÊ&+!ÊÊ
ºÊ ü.ÊÊÊÊ#Ê
Ê &Ê&ÊÊ ÊÊ
&Ê +3ÊÊ&Ê

Ê#!Ê
#
ÊÊ!2Ê Ê
+"+#
Ê
#ÊÊ#Ê !!Ê
üÊÊ.ÊÊ!!Ê! Ê Ê
ÊÊ#Ê&.&Ê Ê
ÊÊ#
Ê2Ê Ê
* *
+ !Ê!ÊÊÊÊÊ + Ê#ÊÊ&Ê#!ÊÊ

Ê Ê
4Ê *ÊÊ ÊÊ
Ê
+GÊÊ$ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊc(#$(-(c
+5ÊÊ:Ê
0+1ÊÊ Ê
+ÊÊºÊ
6ÊÊÊ Ê
http://www.sausd.us/14431081013933233/lib/14431081013933233/Multi-genre_PDF.pdf
.Ê #Ê
Ê

½Ê /Ê
½Ê 7Ê.Ê(Ê
Ê/!Ê,Ê4 $ÊÊ Ê
½Ê
Ê!#ÊÊÊ.ÊÊ
ÊÊ&Ê
ÊÊÊ
c
½Ê Ê/Ê
½Ê ÊÊÊÊÊ&Ê&9ÊÊÊ&Ê9Ê
½Ê 6Ê
ÊB Ê ÊÊ +!
Ê!!
Ê
½Ê ÊIÊ Ê%ÊÊ
½Ê ÊIÊ Ê%ÊÊ
½Ê :!ÊB Ê/
Ê%Ê
½Ê *++*Ê !Ê
½Ê
Ê!#ÊÊ!ÊÊÊ!ÊÊÊÊ

½Ê /Ê
½Ê Ê3Ê Ê
½Ê 7Ê.ÊÊ(Ê
Ê/!ÊÊ
½Ê *++*Ê!!Ê
½Ê
Ê$!#ÊÊ(!ÊÊ
c

½Ê Ê/Ê
½Ê /#&Ê$Ê-!ÊÊ*
ÊÊ%Ê
½Ê 7Ê.Ê
½Ê
Ê$!#ÊÊ!Ê& ÊÊ
4

½Ê /Ê
½Ê
ÊÊºBÊ
½Ê *
ÊÊ
½Ê
Ê$!#Êü-2ÊÊ ü2ÊÊÊ)!ÊÊ!
ÊÊ
Ê
*1 Using Commas and Semi-Colons Correctly
%%71
It has been my experience that students seldom use commas and semi-colons correctly. Rather, they seem to
insert them at random, or they neglect to insert them at all. This lesson is designed to review the use of commas
and semi-colons. It consists of two worksheets and a handout with rules for correctly using these two
punctuation marks.
1
Students will practice and apply grammatical rules in implementing commas and semi-colons in a sentence.
02%1
½Ê Students will understand and apply eight rules for using commas.
½Ê Students will understand and apply three rules for using semi-colons.
1
½Ê #O-
.
ÔÊ 5.1 apply the steps of the writing process to develop, evaluate, and refine writing
ÔÊ 5.6 apply conventions of standard written English (e.g., usage, punctuation, spelling) appropriate
for purpose, audience, and form
*#1
½Ê Ask students to list rules they know regarding the use of commas and semi-colons. After commenting on
their knowledge of these rules (correct, incorrect, or incomplete) explain that this lesson will help them
review the effective use of these two punctuation marks.
½Ê Divide students into groups of four. Have each group choose a spokesperson. ive each group a copy
of worksheet #1 , and instruct them to take turns reading the sentences and inserting commas and semi-
colons where they believe they should go. While the groups are working, write the sentences from the
worksheet on the board or on an overhead transparency.
½Ê When groups are finished, have the spokespersons take turns inserting the punctuation marks in the
sentences you have written on the board or transparency. Ask how they decided where and when to
insert them. Some may have used comma rules; others may have inserted the punctuation where the
readers paused; and still others may have simply inserted them randomly.
½Ê Ask if they are confident they have inserted them correctly. Asking students to explain their reasons for
inserting the commas and semi-colons will force comparisons between their preconceptions/mis-
conceptions and the rules for correct punctuation.
½Ê Now give each group the list of rules and tell them to go back through the sentences and correct any
errors in their initial attempt at inserting commas and semi-colons. Instruct them to write the number of
the rule being used next to each comma or semi-colon they use. (e.g. C1 for comma rule #1 or S1 for
semi-colon rule #1)
½Ê When the groups are finished, have the spokespersons again come to the board (or overhead) and correct
any errors from their first attempt at punctuating the sentences. Have them state the rule they used for
each comma or semi-colon they inserted. Correct any mistakes, and state the appropriate rule for each
correction.
O 1
Distribute the second worksheets and have students complete them. This should be done individually, either in
class or as a homework assignment. Correct the students' work, and return it to them.
http://www.cloudnet.com/~edrbsass/edcommas.htm
ÊIÊ Ê%ÊÊ

@

ÊÊ!Ê
&ÊÊ!!
Ê Ê!ÊÊ+!
'ÊÊ
ÊÊ
*7#
!
(

7
%7 !

!

7
37# @

.@ ! !

7
)7A ! !

#*%*2++7
07# B! !

! 7
17@! ! @

!

7
/7 !

A
C@B
C
+7@

!

! !

7ÊÊ
Ê
Ê
ÊIÊ Ê%ÊÊ
Ê
ÊÊ +
Ê

ÊÊ!Ê
&ÊÊ!!
Ê Ê!ÊÊ+!
'Ê
*7# (
! .

@

.
7
%7 ! !

!

! 7
37$

4

#( 7
)7
7c !
C@

@B
7C
07c

!
! 7
17º

A !
?

- B

7
/7-

! 7
+7 ! !

B

!

7ÊÊ
Ê
<!#'"
$
!#1
5" 0' 2#6>'>0#>>>9 2 7

&# &#5
I &17

#>2,
5
)
#' ,> &5
5" '%,
,#,& &6#09
#5 & #0#7 #&
' #0, I &5
I &10#'#> #775
O' #'#

>
&%5

)
&%' # ,5
+5" & 5<# 0' 2#

& #,# , #&',,#I#
5
I &1O ,7 0#

>>
''5
5" 0''$ 6&' &%

' #
95
I &1) ,>7 >,
#5
.5" 072%6'4# &9 ',

#5&2%'#4# &5O
7, '
2%'4# &% 5'
7' %># 07 5 I &07
,# &5!%
2%60#0
,0
9 &,
?78
I &1<, '

> '7&&,>7 5
)0
0#,0

,0#'#5
5" & '&5

I &1 7#>HHH5

)70 5#>5
F5" 0'4#5O> 7 I &> 6
&79
4# 5
I &1- ' #' >*#&>@,>@
78
G5" 0''7& 7%% %

#&5
I &1O 5)7> 7%>%,#'# 5
$!#1
5" $&' 2#& 7&
# &#5
I &17

#J2,
5
5" $0' 2#%%06# 7% '9 2
7&#5<#&# ' 2#%%05
I &17

#J 7%>2,
5
+5" $& ' ,&##5
I &1 '

&>''#
07>0>#J
$ # >
# >7 0J'7 &5
Ê

Critical reflection is an important aspect of both learning and teaching. With a unit plan such as the one
I have developed, constant reflection will aid my teaching and my student¶s learning. Upon completing the unit
plan my ideas on how to change the schedule, implement different lessons, and change the content to fit into
different subject area filled my mind. Although such ideas can often be disheartening, reflecting on the multiple
possibilities the Multigenre project can bring to any curriculum is exciting.
The Multigenre paper can be an overwhelming assignment for many students, leaving them unsure of
how to approach the paper. The use of modeling and minilessons is imperative to reassuring students how to
continue working on the assignment. I believe the writer¶s workshop and one-to-one conference times are the
most important aspects of the entire unit. Without these designated times the students might not be afforded an
ample amount of time for going through the writing process. While it is difficult to construct a lesson
describing how to run a writer¶s workshop or conduct a conference, it is imperative to be knowledgeable about
the topics. As a teacher I need to continue my own education and build upon my intuition to become the best
possible aid for my students. The feedback that I give my students during the writing process is more valuable
than the grade I assign to their final project. If I expect my students to perform well then I need to give the
tools, time, and guidance for doing so.
-riginally my intentions were to implement this unit at the beginning of the year for a sophomore
English, Writing, or Language Arts class. However, after reviewing the schedule that I created for the unit and
seeing what I was forced to leave out due to time constraints I believe that the Multigenre Research Unit may be
better placed later in the school year. This particular unit plan assumes that all students will have a general
understanding of genres and does not allow for much instruction on different genres or styles of writing. This
unit also assumes that students have the research skills needed to find information on their own with little help
or instruction from the teacher. However, the Multigenre paper could also be used while teaching research
skills since regardless of how the final paper is formatted the students will use the same skills to attain the
information in it.
Allowing students to pick a topic of their choice provides the means to achieve a deeper level of
understanding. The further I dive into my personal pedagogy the more I believe that classrooms should be
based on inquiry. Students should search for questions that are significant to them and not what is prescribed by
the teacher or a district curriculum. Educators can help students learn ways to find the answers to the questions.
The Multigenre project allows students to carve out their own road towards meaning, while the teacher aids the
student throughout the process. The result is a more meaningful project for the student and a product that the
educator is also proud of. Students need to find ways to challenge themselves and when we (the educators)
provide avenues of interesting topics then a natural progression of inquiry takes place in the classroom.
Although video and audio clips can easily be integrated into the classroom, general technology skills are
not always easily integrated into a unit. Since the Multigenre project relies heavily on writing and less on
technology based presentation I had a difficult time using technology throughout the unit. I believe the
integration of the digital story lesson is necessary to promote a creative classroom atmosphere. I allow students
to spend class time during three different days to produce their digital story because for the rest of the unit we
will be mostly focusing our creativity on writing. The addition of technology enables time to teach about new
technologies as well as to engage the students. Although the digital story project does not directly coincide with
the final product of the Multigenre paper I believe it jumpstarts the students¶ critical thinking skills. In future
units that involve the Multigenre project I would like to find more create and engaging ways to use technology.
Another area that I would like to improve my integration of is grammar. I added multiple lessons
throughout the unit plan to facilitate thinking about grammar skills while the students complete their
assignments. I believe that grammar lessons and mini lessons should be included in all units, but that the
subject matter is flexible. If the students seem to all be struggling on a particular skill then the following
grammar lesson should involve that skill. Essentially, instead of trying to predict which grammar lessons to
incorporate, a time should be scheduled for a grammar lesson depending on the needs of the students.
The Multigenre Research Project is a unit that allows for diversity in the classroom. The unit naturally
promotes an environment of inquiry based on what the students already know and what they want to learn. The
projects greatest strength is that is can be taught alongside a specific curriculum requirement and or as a
standalone unit to help enhance the students¶ writing skills.
Ê
/!Ê Ê
Ê:Ê(ÊÊ?
Ê
:
Ê3Ê$
Ê
Ê Ê
ÊÊ(Ê/Ê
(Ê
+3Ê/!ÊÊ(Ê/Ê
<(! ÊÊ
+3Ê/!ÊB=Ê
Ê%.ÊGÊÊÊ
(! Ê
Ê6 ÊÊ6!Êº!ÊÊ/
Ê>Ê
JÊ"
Ê%Ê(ÊÊÊ! Ê3'ÊüBÊBÊÊ4
ÊÊG2Ê'Ê'ÊÊ
Êá

à á

à'ÊÊ
Ê%Ê5'ÊÊ'Ê
Ê
/!Ê8 'ÊÊàà

à
ÊÊ:
ÊÊ(Ê

ÊÊ'ÊÊ'Ê
Ê
Ê -ÊB ÊÊ/!ÊÊÊ(!Ê !
Ê(. Ê
$ü2ÊºÊ3 Ê
!Ê(Ê
Ê>
Ê8
'Ê0Ê"'ÊÊü 'ÊG12Ê'Ê+0Ê

ÊÊ"
Ê !
ÊÊ(!ÊÊ
Ê
Ê

Ê'Êü2'Ê(Ê
ÊÊ4! Ê4Ê#ÊÊ !
ÊÊ
/!'Ê>
ÊÊ$
!ÊIÊ$
Ê6!Ê1ü2ÊG+0Ê
,,&&&'&.' ,!

+!,
+
,
+ +-
++
'
Ê
J ; Ê$Ê6ÊÊ/ ÊÊ Ê(! ÊÊ6 Ê/ÊGÊ
,,&&&'&
!
'!,º,,
,'
Ê
K# ÊÊÊÊ.&ÊÊ!!'KÊCÊ

+ Ê'Ê'ÊÊ>ÊÊ
L,,&&&'
'.&',!

,
M 'N'Ê
,,!'
.!
' ,,
,. ,/4(4"3F (/$(34 ,6

'Ê
,,
'
''!,,,G, ++
+#
+ +.
,O+
050Ê
,,&&&'&.' ,!

+!,
+
,
+

+ +
)!+'
9HOÊ
,,&&&'&.' ,!

+!,
+
,&# ++ ++
05'
9HOÊ
,,&&&'&.' ,!

+!,!
+!#,++)!.+.!+
G'
Ê
,,&&&'

'!,6$?!$!# 'Ê
$Ê,,&&&'&.' ,!
+!,
+
,!+Ê
15'
9HOÊ
$Ê,,&&&'&.' ,!
+!,
+
,
+ +-
+
+'
Ê
,,&&&'!
'!,P,!'Ê
,,&&&'&.' ,!

+!,
+
,# +-+
+ +
'
9H1OÊ
,,&&&'',!!,!!
,!!
'1'-Ê
Ê
,,&&&'',110G00000,

,110G00000,
+ Mº 'Ê

The Multigenre Research Paper Unit Plan

Загружено:

Сведения о документе

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

The Multigenre Research Paper Unit Plan

Загружено:

Авторское право:

Доступные форматы

c 

-  

$ % & For English Learners the teacher:

 ' # ½Ê Pre-testing

ifted and Talented

Possible topic ideas include:

 #  O # +

 #  O  , 

/# 0#,#& 1

#&1'   #&.1 %- 

½Ê title (not label)

50 ' This page will help your reader navigate

½Ê how you came up with your idea

+5<, -, && ,#

½Ê how writing about this topic has

   " -

   

 ÊÊÊÊ Ê#  Ê ÊÊ

Ê& Ê Ê.  Ê ÊÊÊ Êº!Ê   7Ê

Ê ÊÊÊÊÊ.ÊÊÊÊ& Ê&

ÊÊÊ Ê ÊÊ !  Ê ÊÊÊ

(Ê!ÊÊ7 Ê# !Ê Ê  Ê .

Ê7 Ê# !'Ê"Ê!Ê Ê ÊÊÊ4

Ê7 Ê# !Ê 

Ê7 Ê# !Ê!

 ÊÊ ÊÊ !ÊÊÊÊÊ#Ê Ê#ÊÊ&

 'Ê%ÊÊ&Ê Ê   Ê !Ê1ÊÊ ÊÊ&.  Ê ÊÊ !. ÊÊÊ

Ê7 Ê# !Ê  Ê ÊÊ Ê .Ê!  Ê#Ê Ê

ÊÊ  7Ê ÊÊ

(7 ÊÊ Ê ÊÊ#

Ê Ê Ê Ê! Ê& Ê Ê

Ê&ÊÊ  Ê Ê$ !'=Ê

(7 Ê&ÊÊÊÊ'Ê +&Ê Ê&Ê !Ê ÊÊ&Ê4Ê& Ê 'Ê +&Ê

Ê&Ê$ !'ÊÊ7 Ê# !Ê!

 1To introduce students to style and how it affects literature.

Ê ºÊÊ! ÊÊ  Ê!

$ÊÊÊ   ÊÊ   9Ê

4 ÊÊ&+Ê  &ÊÊ!# 

37(. "(  Ê4 ÊÊ&   Ê ÊÊ ! ÊÊ

Ê $ÊÊÊÊ  ÊÊ  #Ê

178 º Ê %&ÊÊ Ê 

º ÊÊ!#  Ê Ê

%&Ê!Ê Ê Ê   ÊÊ 9Ê

Ê Ê.  ÊÊ!! ÊÊ9ÊÊ 

27c Ê Ê ÊÊ7 Ê 9ÊÊÊ ÊÊÊÊÊ 9Ê

Ê º ÊÊÊ Ê !  !9ÊÊ$  #9ÊÊ 

 Ê !Ê! !Ê

*%7c'  " %&Ê ÊÊÊ  ;ÊÊ!

*37#  Ê %&ÊÊ&ÊÊ ÊÊÊÊÊÊ- Ê Ê

*07   º ÊÊÊ!

Ê ÊÊ ÊÊÊ&Ê! ÊÊ 9Ê

, # %  5,0>    

7 57 7,@##

OO O OO! 1

 ) :*! "! 1

adapted from http://www.readwritethink.org/classroom-resources/lesson-plans/life-multimodal-autobiography-project-1051.html?tab=1#tabs

* 1Brainstorming: Morality Topics

I Wonder Why Handout

Romano, Tom. 2000. Blending enre, Altering Style: Writing Multigenre

Adapted from Penny Kittle

" O  1

> ÊÊ 0ÊüF2ÊÊ ÊüF2ÊÊ GÊüF2ÊÊ

 ! ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ

$ÊÊ GÊüF2ÊÊ ÊüF2ÊÊ 1ÊüGGF2ÊÊ

c

-

$% & For English Learners the teacher:

' # ½Ê Pre-testing

ifted and Talented

#O# +

#O,

/#0#,#&1

#&1' #&.1%-

50' This page will help your reader navigate

+5<, -,&&,#

" -

ÊÊÊÊÊ# ÊÊÊ

Ê&Ê Ê.ÊÊÊÊÊº!Ê 7Ê

ÊÊÊÊÊÊ.ÊÊÊÊ&Ê&

ÊÊÊÊÊÊ! Ê ÊÊÊ

(Ê!ÊÊ7Ê#!ÊÊ Ê.

Ê7Ê#!'Ê"Ê!ÊÊÊÊÊ4

Ê7Ê#!Ê

Ê7Ê#!Ê!

ÊÊÊÊ!ÊÊÊÊÊ#ÊÊ#ÊÊ&

'Ê%ÊÊ&ÊÊÊ!Ê1ÊÊÊÊ&. ÊÊÊ!.ÊÊÊ

Ê7Ê#!Ê ÊÊÊ Ê.Ê! Ê#ÊÊ

ÊÊ 7ÊÊÊ

(7ÊÊ ÊÊÊ#

ÊÊÊÊ!Ê&ÊÊ

Ê&ÊÊ ÊÊ$!'=Ê

(7Ê&ÊÊÊÊ'Ê +&ÊÊ&Ê!ÊÊÊ&Ê4Ê&Ê'Ê +&Ê

Ê&Ê$!'ÊÊ7Ê#!Ê!

1To introduce students to style and how it affects literature.

Ê ºÊÊ!ÊÊÊ!

$ÊÊÊ ÊÊ9Ê

4ÊÊ&+Ê &ÊÊ!#

37(. "( Ê4ÊÊ& Ê ÊÊ!ÊÊ

Ê $ÊÊÊÊÊÊ #Ê

178º Ê %&ÊÊÊ

ºÊÊ!#ÊÊ

%&Ê!ÊÊÊÊÊ9Ê

Ê Ê.ÊÊ!!ÊÊ9ÊÊ

27c Ê ÊÊÊ7Ê9ÊÊÊÊÊÊÊÊ9Ê

Ê ºÊÊÊÊ!!9ÊÊ$ #9ÊÊ

Ê!Ê!!Ê

*%7c' " %&ÊÊÊÊ ;ÊÊ!

*37# Ê %&ÊÊ&ÊÊÊÊÊÊÊÊ-ÊÊ

*07 ºÊÊÊ!

ÊÊÊÊÊÊ&Ê!ÊÊ9Ê

, # %5,0>

7577,@##

OO O OO! 1

) :*! "! 1

*1Brainstorming: Morality Topics

Romano, Tom. 2000. Blending enre, Altering Style: Writing Multigenre

" O 1

> ÊÊ 0ÊüF2ÊÊ ÊüF2ÊÊ GÊüF2ÊÊ

!ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ

$ÊÊ GÊüF2ÊÊ ÊüF2ÊÊ 1ÊüGGF2ÊÊ

ÊÊ ÊüF2ÊÊ ÊüGF2ÊÊ ÊüF2ÊÊ

(!ÊÊ 5Êü00F2ÊÊ Êü5F2ÊÊ 0Êü0F2ÊÊ

"ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ ÊüF2ÊÊ

02%1 Students will do the following:

½Ê " !O(

4#'*#: &:O%

1 To introduce students to Found Poetry and how to create it.

O "

O "

*#:%%71(used as an extended lesson plan option)

& Ê!Ê&

ÊÊÊÊÊÊÊ

Ê Ê!ÊÊÊ

ÊÊÊÊ +Ê-,

Ê Ê!ÊÊÊ

37# @

)7A ! !

07# B! !

17@! ! @

/7 !

+7@

! !

%7 ! !

!