Wonders Teacher's Edition 6.1

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• Read the Key Concept and Essential Question to students.

• Have students repeat after or choral read the Essential Question a second time. Ask students to share their initial ideas about the Essential Question.

• Tell students that they will be exploring how natural forces affect Earth and its people.

• Say: Movement below Earth’s surface affects what happens on the surface of Earth.

Key Concept Dynamic Earth Essential Question

How do natural forces affect Earth?

• Have students look at the photograph.

• Ask: What do you know about volcanoes and lava? (Volcanoes are dangerous. Hot lava comes out of the top of the volcano.) What happens during a volcanic eruption? (When a volcano erupts, lava sprays into the air. Volcanic eruptions cause a lot of damage.)

• Give students time to discuss with their partners. Move around the classroom to check for understanding.

Forces within our Earth often produce dramatic surface changes. Earth's crust is continually moving, causing volcanism and earthquakes. There are many active volcanoes in the United States. During certain types of eruptions, jets of molten rock called lava fountains reach temperatures of 2,000°F and spray as high as 1,600 feet into the air!

Look at the photograph. Talk to a partner about what you see. Discuss what occurs during a volcanic eruption. Fill in the web with examples.

Lava sprays high into the air.

Volcanic Eruption

Lava blasts through the top of a volcano.

• • Have students read the Collaborate prompt: Forces within our Earth often produce dramatic surface changes. Earth’s crust is continually moving, causing volcanism and earthquakes. There are many active volcanoes in the United States. During certain types of eruptions, jets of molten rock called lava fountains reach temperatures of 2,000℉ and spray as high as 1,600 feet into the air!

• Say: Let’s look at the photograph again. With your partner, talk about what happens when a volcano erupts.

• Give students time to work on their webs before asking them to share their ideas with the class.

The lava is extremely hot and dangerous. Hot lava burns anything in its path.

• Play track 02. Students will first listen and then repeat the sentences.

• Use the Define/Example/Ask routine to introduce each vocabulary word.

• Ask students to read the bolded vocabulary words with you: cascaded, catastrophic, documentation, dynamic, eruption, evacuation, exerts, and occurred.

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: If water cascaded down the side of a tall building, what could have caused it? (Heavy rain might have caused water to cascade down the side of the building.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for catastrophic (People can prepare for catastrophic events by practicing safety drills.), documentation (I might need a passport, ID, travel tickets, hotel reservations, and any necessary visas.), and dynamic (In a dynamic market, prices can change quickly.)

• Invite one or two students to share their responses.

VOCABULARY

cascaded v. fell and tumbled down over a surface

Snow cascaded down the mountain during the avalanche. If water cascaded down the side of a tall building, what could have caused it?

catastrophic adj. destructive; extremely damaging

The catastrophic earthquake left thousands of people homeless. How can people prepare for catastrophic events?

documentation n. written paperwork needed for something or proving something to be true

I have documentation to prove that we made an agreement. What documentation might you need when you go on vacation?

dynamic adj. quickly changing; never staying the same

To survive, businesses have to adapt to changes in a dynamic market. What happens in a dynamic market?

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

eruption n. an explosion of a volcano that sends lava, ash, and gases into the sky

Tourists all left the island because of the volcanic eruption .

How would you feel if you saw a volcanic eruption ?

evacuation n. the act of leaving a place of danger for a safer place

My school has an evacuation plan in case of fire.

Where else might there be an evacuation plan?

exerts v. uses a lot of physical or mental strength

Amy exerts all of her energy to move the heavy statue.

What exerts a force that makes things move toward each other?

• Have students think about and answer the question in blue: How would you feel if you saw a volcanic eruption? (If I saw a volcanic eruption, I would feel worried about the people living nearby.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for evacuation (There might be an evacuation plan in theaters.), exerts (Gravity exerts a force that makes all objects move toward each other.), and occurred (The best thing that has occurred to me is getting a new pet.).

• Invite one or two students to share their responses.

occurred v. happened; took place

The accident occurred when a car drove onto the train track.

What is the best thing that has occurred to you?

• Continue to introduce each vocabulary word using the Define/Example/Ask routine.

• Ask students to read the bolded vocabulary words with you: plummeting, pulverize, scalding, shards, smoky, smothering, and witness

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: What would you do if you saw something plummeting from a tall building? (If I saw something plummeting from a tall building, I would move to a safe place.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for pulverize (I might pulverize spices to make them into a fine powder.), scalding (If I spill scalding water on my body, I will get burns.), and shards (I should use a broom and dustpan to safely handle shards of glass.)

• Invite one or two students to share their responses.

VOCABULARY

plummeting v. falling with great speed or from a great height

People ran for cover when they saw hailstones plummeting from the sky. What would you do if you saw something plummeting from a tall building?

pulverize v. break into fine powder by crushing

Pulverize the chalk and mix it with water to make a thick paste. What things might you pulverize when you prepare food?

scalding adj. extremely hot, especially when talking about liquids

The boiling water is scalding , so don’t spill it. What will happen if you spill scalding water on your body?

shards n. sharp broken pieces

Shards of glass fell down from the broken window. How should you safely handle shards of glass?

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

smoky adj. producing a lot of smoke

The students covered their mouths and noses as they exited the smoky building. What would you do if your classroom became smoky ? smothering v. covering the surface of something completely or thickly

My brother is smothering his chicken nuggets with tomato ketchup. Yuck! How can people remove the snow smothering their lawn? witness v. see something happen

We were thrilled to witness the team's amazing performance. If you were to witness a crime, what would you do?

COLLABORATE Your Turn Pick three words. Write three questions for your partner to answer.

• Have students think about and answer the question in blue: What would you do if your classroom became smoky? (If my classroom became smoky, I would exit the building quickly and safely.)

• Say: Look at the next two words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for smothering (People can remove the snow smothering their lawn by shoveling it.) and witness (If I were to witness a crime, I would call the police.).

• Invite one or two students to share their responses.

• Say: Read the Your Turn prompt with me. Read: Pick three words. Write three questions for your partner to answer. (Answers will vary depending on the words that students pick and the questions they individually generated. Walk around the room to check students’ work. Questions should include the use of the vocabulary word.)

SHARED READ

TAKE NOTES

To help you focus as you read, preview the text and make a prediction about what you think will happen. Read the title and preview the text features. Then write your prediction below.

As you read, take note of Interesting Words

Key Details

Page 8

Build

Background

• Have students share what they know about volcanoes and eruptions. Say: Let’s talk about Mount Vesuvius. It’s a famous volcano in Italy. Here it is on the map. Now, who can tell me some ways people can stay safe when a volcano erupts? What steps should they take to protect themselves?

• Have them describe using “When volcanoes erupt, ____. People can stay safe by ____.” (When volcanoes erupt, they shoot out lava and ash. People can stay safe by leaving the area and wearing masks.)

• Read the Essential Question: How do natural forces affect Earth?

• Explain the meaning of the Essential Question, including the vocabulary in the question. Say: Natural forces are powerful occurrences in nature, such as volcanic activity, lava flows, eruptions, the movement of Earth’s plates, earthquakes, erosion, and weather.

• Model an answer. Say: When ocean waves slam into a rocky cliff, the power of the waves can cause the cliff to erode. The water breaks up the rock and carries the pieces into the ocean. This causes the cliff’s shape to change and eventually become smaller.

• Have students connect the Essential Question to their background knowledge. Say: Turn to a partner and discuss changes to Earth caused by natural forces that you have seen or heard of. These could be rock formations, weather events, floods, earthquakes, or volcanic eruptions. Then, we’ll share our ideas with the class. Call on several pairs to share their discussions.

Set Purpose for Reading

• Say: Today we will read “The Monster in the Mountain” and focus on how natural forces like volcanic eruptions shape and impact Earth. As we read, think about the Essential Question: How do natural forces affect Earth?

Take Notes

• Have students look at the TAKE NOTES prompt on page 8.

• Guide them to write down their questions, interesting words, and key details from the text in the left column on page 8.

Previewing the Text

• Before students begin reading the story, have them look at the images and headings on pages 8-11.

• Ask them to share what they see on each page to activate their prior knowledge, engage their curiosity, and enhance their comprehension of the story.

• Have students go back to page 8.

• Ask: What natural force is shown in the photograph? (It is a volcanic eruption.) What do you think the monster in the title refers to? (It likely refers to the volcano and its powerful eruption.)

Listening Activity

• Play track 03 and have students follow along in their books until the end of page 11.

• After listening, invite them to share what they heard or ask questions.

• Reassure them that it’s okay if they don’t remember everything, as the story will be reviewed in detail during class.

During Reading

Interactive Question-Response Routine

• After each paragraph, ask questions to help students understand the meaning of the text.

• Explain difficult or unfamiliar concepts and words.

• Reinforce the meaning of new vocabulary.

• Ask students questions that require them to use the vocabulary.

• Reinforce weekly strategies and skills by modeling and asking questions.

• Use images and other text features to aid students’ comprehension.

• Use headings to help students predict what the sections will be about.

Meet Marta Ramírez

As a young girl during World War II, Marta Ramírez saw newsreels that showed B-25 airplanes flying near the smoky plume of a volcanic eruption. The year was 1944, and Mount Vesuvius in Italy was erupting! Blankets of burning ash were seen smothering the airplanes. Shards of volcanic rock came plummeting from the sky. Soldiers on the ground ran for cover. Each glowing splinter of rock was like a fiery dagger.

Those images never left Ramírez. She has been fascinated by volcanoes ever since. When she got older, Ramírez earned degrees in geology and volcanology. Though she has studied many of the world’s volcanoes, she returns again and again to Mount Vesuvius. Ramírez has climbed down into its smoking crater many times. In the following memoir, she describes one of her visits and why this volcano still inspires her work.

At the Monster’s Mouth

I recently went to see this dynamic volcano again. I decided to climb its slope along with the dozens of curious tourists visiting that day. As we walked, our shoes crunched on cinders that had been dropped there long ago. Finally reaching the rim, we gazed at the spectacular view. We stared 800 feet down into the crater. It was quiet for now, but I knew it was only sleeping. Frequent tremors and small earthquakes prove that this monster is not dead. Did the others standing there with me know about the danger beneath their feet?

This model shows how Mount Vesuvius formed where one plate of Earth’s crust pushes against another. Molten rock at this collision point exerts pressure upward until lava explodes from the volcano.

NARRATIVE NONFICTION

FIND TEXT EVIDENCE

Paragraphs 1–2

Main Idea and Key Details

Underline key details in paragraphs 1 and 2. What is the central, or main, idea of the paragraphs?

The eruption of Mount Vesuvius in 1944 fascinated Ramírez and led her to study geology and volcanology.

Paragraph 3 Reread

Draw a box around text evidence that tells why Mount Vesuvius could still be a danger one day.

Model

Circle the spot where two plates collided and caused Mount Vesuvius to form.

Read Reread

Author's Craft

Why did the author include the model showing the formation of Mount Vesuvius?

• Read the Reread prompt with the students and have them complete the task: Draw a box around text evidence that tells why Mount Vesuvius could still be a danger one day.

Paragraphs 1–2

• Read paragraphs 1-2 together. Ask: What did Marta Ramírez see in the newsreels during World War II? (She saw B-25 airplanes flying near the smoky plume of a volcanic eruption.) How did the images of the eruption affect Marta Ramírez? (The images fascinated her and made her interested in studying volcanoes.) What did Marta Ramírez do when she got older because of her fascination with volcanoes? (She earned degrees in geology and volcanology and frequently studied Mount Vesuvius.)

• Say: The main idea is the big point of the story, what it’s mostly about. Key details are the important facts that support this main idea. In these paragraphs, the main idea is Marta Ramírez’s fascination with volcanoes, which started when she saw newsreels of Mount Vesuvius erupting. Key details include the airplanes flying near the volcanic plume, the burning ash, soldiers running for cover, and Marta earning degrees in geology and volcanology. These details show how the eruption impacted her and led to her career.

• Read the Main Idea and Key Details prompts with the students and have them complete the tasks: Underline key details in paragraphs 1 and 2. What is the central, or main, idea of the paragraphs? (The eruption of Mount Vesuvius in 1944 fascinated Ramírez and led her to study geology and volcanology.)

Idea and Key Details Paragraph 3

• Read paragraph 3 together. Ask: What did the tourists hear under their feet while walking up the slope? (Their shoes crunched on cinders.) How did the crater look when they reached the rim? (It was quiet for now, but they could see 800 feet down into the crater.) What evidence shows that Mount Vesuvius is not dead? (Frequent tremors and small earthquakes prove that it is still active.)

• Explain that in the model a plate is one of the very large areas of rock that form the surface of Earth. Have students point to Mount Vesuvius in the model. Ask: What are the names of the two plates in the model? (the African Plate and the Eurasian Plate) What does the caption tell you about the two plates? (They pushed against each other to form Mount Vesuvius and caused lava to explode from the volcano.)

• Remind students that captions help support text features by providing additional information. Ask: How does the caption next to the model help you understand what happens at the plates’ collision point? (It tells me molten rock causes pressure that pushes lava out of the volcano.)

• Read the Model prompt with the students and have them complete the task: Circle the spot where two plates collided and caused Mount Vesuvius to form.

Author's Craft

• Tell students that they will reread this page to analyze the techniques the author used in writing this selection.

• Reread paragraph 1. Review the model and caption with students. Ask: What information is provided by the model and caption? (Together they explain how the African Plate pushed against the Eurasian Plate, causing Mount Vesuvius to form and erupt.)

• Read the Author’s Craft question with the students and have them answer it: Why did the author include the model showing the formation of Mount Vesuvius? (The model provides scientific information related to Marta Ramírez’s experience. It helps readers visualize the process that occurred in the formation and eruption of Mount Vesuvius.)

Reread

SHARED READ

FIND TEXT EVIDENCE

Read

Paragraph 1

Metaphors and Similes

What does the author compare scalding lava to? Underline the text that shows this comparison. What does the author compare hard, dry lava to? Circle the text that shows this comparison.

Map

In what area of Italy is Mount Vesuvius located?

southwest on the coast of the Bay of Naples

Paragraphs 2–3

Main Idea and Key Details

Look for key details in paragraph 3. Draw a box around the main idea.

Every time I see this volcano up close, I think about how it had roared like a lion back in 1944. The trembling earth shook buildings for miles around, and streams of scalding lava flowed down the sides. Like glowing red fingers, they stretched out to crush defenseless homes below. It must have been terrifying to witness in person. Today, the lava that once cascaded down the mountain is hard and dry. It looks a bit like the skin of an elephant.

When the Monster Awakens

Author's Craft

How does the author's language help you visualize an erupting volcano?

There is a lot of documentation of Vesuvius’s past. Geologists have gathered this evidence of earlier eruptions by studying the rocks that were formed. Before 1944, the most catastrophic eruption occurred in 79 A.D. A Roman writer named Pliny the Younger described it in detail in his letters. On the morning of that tragic day, no one guessed that an enormous volcanic explosion was about to pulverize tons of rock and send it raining down on the city. People couldn’t know that thick, dark ash and fiery lava would completely destroy the nearby cities of Pompeii and Herculaneum. By evening, few people had survived. Many smaller eruptions have occurred since then, including the one in 1944. Volcanologists believe that another major eruption could occur at any time. The probability grows with each passing year. To watch for geological changes within Vesuvius, we have set up seismographs on the slopes of its cone. These instruments measure the slightest shifts in the rock beneath the mountain. the underground. Any an Looking Vesuvius lies city hurled trains can give plans. days will watching

Reread

Read

Paragraph 1

Metaphors and Similes

• Read paragraph 1 together. Say: Metaphors and similes are comparisons that help us picture things in our minds. A simile uses the words like or as to compare two things, while a metaphor says one thing is another. In this story, the author compares scalding lava to something and hard, dry lava to something else. Let’s find and understand these comparisons.

• Read the Metaphors and Similes prompts with the students and have them complete the tasks: What does the author compare scalding lava to? Underline the text that shows this comparison. What does the author compare hard, dry lava to? Circle the text that shows this comparison.

Map

• Remind students that authors often include different text features in expository texts. Ask: Why did the author include a map? (to show where Mount Vesuvius is located) Why is this useful information? (It helps me understand where the volcano is in relation to the cities and the Bay of Naples.) Why do you think the author also includes the smaller inset map of Italy? (to show where Mount Vesuvius is located in Italy as well as add detail about the cities that are near Mount Vesuvius)

• Read the Map question with the students and have them complete the task: In what area of Italy is Mount Vesuvius located? (southwest on the coast of the Bay of Naples)

Paragraphs 2–3

Main Idea and Key Details

• Read paragraphs 2-3 together. Ask: What do the details in the second paragraph tell you about past eruptions of Mount Vesuvius? (They can be unexpected and very dangerous.) What do volcanologists fear might happen again? (They are afraid a major

eruption could occur again.)

• Read the Main Idea and Key Details prompts with the students and have them complete the tasks: Look for key details in paragraph 3. Draw a box around the main idea.

Reread

Author's Craft

• Reread the first two paragraphs on page 10 with students. Ask: What phrases does the author use to describe the 79 A.D. and the 1944 eruptions? (“roared like a lion,” “trembling earth shook buildings,” “streams of scalding lava flowed down,” “enormous volcanic explosion,” “pulverize tons of rock and send it raining down on the city,” “thick, dark ash and fiery lava”) What do the descriptions help you understand? (Volcanic eruptions are very loud. They send tons of rocks into the air and hot lava down the side of the mountain.)

• Read the Author’s Craft question with the students and have them answer it: How does the author’s language help you visualize an erupting volcano? (The author uses sensory language to describe what happens during a volcanic eruption. This imagery helps me visualize how an eruption looks and sounds, and how it makes people feel. Comparing a volcanic eruption to a roaring lion helps me understand that it is a terrifying experience.)

To understand what causes a volcano, students need to understand what is below the surface of Earth.

• Earth has three layers: the crust (outermost layer), the mantle (middle layer), and the core (center of Earth)

• The crust is made up of solid rock.

• The mantle is made up of a thick layer of molten rock called magma.

• When magma pushes through the crust, it becomes lava.

During one dangerous but exciting mission, I climbed down into the crater itself. My crew and I worked on mapping what was going on underground. We also measured the gases leaking from small vents. Any sudden increase in carbon dioxide and other gases might signal an eruption.

Looking Ahead

I don’t go into the crater anymore, but I often think about how Vesuvius threatens the environment around it. Today, the city of Naples lies at the foot of Mount Vesuvius. If an eruption occurred tomorrow, the city would not be ready. Tons of ash and rock would once more be hurled into the air. This volcanic debris would keep cars, planes, and trains from operating. People would try escaping on foot. Sadly, no one can outrun such an eruption.

The only sure way to protect people who live near this volcano is to give them enough warning. The city of Naples has detailed evacuation plans. For the plans to work, however, officials need to be warned seven days before an eruption occurs. I hope the work that volcanologists do will help to give people the warning they need. Until then, I’ll be watching this sleeping monster, just in case it starts to wake up.

Behind Vesuvius are the remains of Mount Somma, a volcano that erupted 25,000 years ago. Vesuvius formed inside Somma’s crater.

NARRATIVE NONFICTION

FIND TEXT EVIDENCE

Read

Paragraph 1 Reread

Draw a box around the text that explains why the crew measured the gases leaking from small vents.

Paragraphs 2–3

Metaphors and Similes

Underline the sentence which shows a comparison of two unlike things. What is being compared?

Mount Vesuvius is being compared to a sleeping monster.

Make Inferences

Why does the author make the comparison noted above?

to show just how dangerous a Mount Vesuvius eruption would be

Summarize

Make Connections

After lava erupts from the volcano, it eventually dries and makes the ground dark gray like an elephant’s skin.

Talk about how Earth's natural forces affect the environment around Mount Vesuvius.

ESSENTIAL QUESTION

What natural occurrences have you experienced that could pose a danger to people? TEXT TO SELF

When I was younger, there was an earthquake in my town. It was a small one, but larger ones can be very dangerous.

Use your notes to orally summarize

Marta Ramírez's visit to Mount Vesuvius and why this volcano still inspires her work. Talk about whether your prediction from page 8 was confirmed or needed correction.

Paragraph 1 Reread

• Read paragraph 1 together. Ask: What did the crew do in the crater? (They worked on mapping what was going on underground.) Why did the crew measure the gases leaking from small vents? (They wanted to check for a sudden increase in carbon dioxide. This might indicate that an eruption was about to happen.) Why might the author refer to this mission as “dangerous”? (because climbing down into the crater itself is risky and there could be sudden increases in dangerous gases) Why might the author refer to this mission as “exciting”? (because they were mapping underground activities and measuring gases, which is important and adventurous work)

• Read the Reread prompt with the students and have them complete the task: Draw a box around the text that explains why the crew measured the gases leaking from small vents.

Paragraphs 2–3

Metaphors and Similes

• Read paragraphs 2-3 together. Read the Metaphors and Similes prompts with the students and have them complete the tasks: Underline the sentence which shows a comparison of two unlike things. What is being compared? (Mount Vesuvius is being compared to a sleeping monster.)

Make Inferences

• Review the comparison above. Ask: Which details in the second paragraph support this characterization of Mount Vesuvius, if it should ever “wake up”? (The text talks about how ash and rock would be “hurled into the air” and transportation would not work. People would not be able to outrun the eruption.) Why does the author make this comparison? (The author wants to emphasize how dangerous a future eruption of Mount Vesuvius would be.)

• Read the Make Inferences question with the students and have them complete the task: Why does the author make the comparison noted above? (to show just how dangerous a Mount Vesuvius eruption would be)

Students may need assistance recognizing the author’s point of view.

• Ask: From whose point of view is most of this passage told? (Marta Ramírez) How has Ramírez’s experience shaped her current point of view? (Marta Ramírez is still fascinated by Vesuvius, but she also recognizes the extreme danger it poses based on her firsthand experience.)

Summarize

• After their first read, ask partners to orally summarize the selection using their notes.

• Allow students to work in pairs, small groups, or independently to complete this task. (In “The Monster in the Mountain,” Marta Ramírez has always been fascinated by volcanoes since seeing Mount Vesuvius erupt as a child. She frequently visits Vesuvius to study its activity. During one visit, she observed the volcano’s crater and thought about its powerful past eruptions. Her work aims to help predict future eruptions and keep people safe. My prediction about volcanoes was correct because Marta’s experiences and studies are deeply connected to understanding and monitoring volcanic activity.)

Make Connections

• Invite students to address the Make Connections box as a small group or in pairs. Students should be able to answer and discuss both questions with their peers.

Point of View

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• Explain to students that if they are unsure of something in a text, they can always go back and reread to ensure they understand.

• Have students read the Quick Tip box to learn more about rereading and asking questions to help their understanding.

Model

FIND TEXT EVIDENCE

• Using page 10, model how to reread for understanding in “The Monster in the Mountain.”

• Say: I am not sure why volcanologists would study a volcano when it’s not erupting. I reread page 10 and saw that scientists will gather historical and geological documentation about the volcano’s past. This is how I can tell that learning from the past helps predict when the volcano may erupt again.

COMPREHENSION STRATEGY

Reread

Rereading portions of “The Monster in the Mountain” can help you better understand facts about Mount Vesuvius and its volcanic eruptions.

FIND TEXT EVIDENCE

You may not be sure why volcanologists would study a volcano even when it isn’t erupting. Reread “When the Monster Awakens” on page 10 of “The Monster in the Mountain.”

When the Monster Awakens

There is a lot of documentation of Vesuvius’s past. Geologists have gathered this evidence of earlier eruptions by studying the rocks that were formed. Before 1944, the most catastrophic eruption occurred in 79 A.D. A Roman writer named Pliny the Younger described it in detail in his letters. On the morning of that tragic day, no one guessed that an enormous volcanic explosion was about to pulverize tons of rock and send it raining down on the city.

Quick Tip

If you are unclear about information in a section of text, write down a question you have about the information. Then go back and reread the section, looking for the answer to your question.

I read that scientists gather historical and geological documentation about the volcano’s past. From this I can tell that learning about past eruptions helps predict when it may erupt again.

Your Turn How does information about past eruptions affect people living near Vesuvius today? Reread “Looking Ahead” on page 11. Remember to use the Reread strategy.

• • Say: Now it’s your turn.

Guided Practice Your Turn

• Have students look at the Your Turn prompt and help them complete the task: How does information about past eruptions affect people living near Vesuvius today? Reread “Looking Ahead” on page 11. Remember to use the Reread strategy. (Information about past eruptions helps people who live near Mount Vesuvius predict what will happen if Mount Vesuvius erupts again. To survive an eruption, people need enough warning to evacuate.)

COLLABORATE

Maps and Models

“The Monster in the Mountain” is mostly a first-person narrative written by a scientist. Narrative nonfiction gives factual information about a topic. It may tell one person's experiences or discuss events related to the topic. The author of a narrative nonfiction text describes events in a logical order.

FIND TEXT EVIDENCE

“The Monster in the Mountain” is a scientist’s memoir written with the first-person pronouns I and we. A map shows the location of Vesuvius. A model adds information about how Vesuvius formed.

Page 9

Maps

Readers to Writers

Writers use maps and models to illustrate information in a text. Study a model or a map, read its labels, and think about how it relates, or connects, to the topic. How does the model or map help you understand the text? What new information do you learn?

Maps show the locations of places discussed in the text.

Models

Models provide simple visual explanations of detailed factual information.

Your Turn Find two text features in “The Monster in the Mountain.” Explain how each contributes to your understanding of the text.

•

• Explain the characteristics of narrative nonfiction. Narrative nonfiction gives factual information about a topic.

• Point out that a narrative nonfiction essay may tell one person’s experiences or discuss events related to the topic. These events are described in a logical order.

• Read the Readers to Writers box together with students.

Model FIND TEXT EVIDENCE

• Model identifying the characteristics of a narrative nonfiction essay.

• Say: In “The Monster in the Mountain,” the author includes text features to give additional information about volcanoes and volcanic eruptions. A map can show where a place is located, and models can give a visual representation of processes that are being described in the text.

• • Say: Now it’s your turn.

Guided Practice Your Turn

• Have students look at the Your Turn prompt and help them complete the task: Find two text features in “Monster in the Mountain.” Explain how each contributes to your understanding of the text. (The model on page 9 helps me understand the effects of the collision of the Eurasian Plate and African Plate. The map on page 10 helps me understand how close Pompeii, Herculaneum, and Naples are to Mount Vesuvius.)

• • Tell students that the main idea of a text can be found by looking for the key details. The details help readers understand the most important point that the writer makes.

Model FIND TEXT EVIDENCE

• Model how to identify the main idea in “At the Monster’s Mouth” on pages 9-10.

• Say: In this section, I ask myself what this part is mainly about. As I read and find the key details, I am able to determine what all the details have in common. This information then helps me figure out the main idea.

• Read the Quick Tip box together with students for another way to help students figure out the main idea in a nonfiction piece.

COLLABORATE

Main Idea and Key Details

The main idea is the most important point an author makes about a topic or in a section of text. The main idea may be stated or unstated. If it is not stated, readers can use key details to identify the main idea.

FIND TEXT EVIDENCE

When I reread “At the Monster’s Mouth” on pages 9 and 10, I can ask myself what this section is mainly about. All of the key details together help me figure out the unstated main idea.

While Mount Vesuvius may currently be sleeping, the volcano could erupt again.

The 1944 eruption made the ground shake for miles around the volcano, and lava flowed down its sides.

Hardened lava from the 1944 eruption is still visible at the volcano.

Mount Vesuvius continues to show signs of activity.

Your Turn Reread “When the Monster Awakens” on pages 10–11. Find key details in the section and list them in the graphic organizer on page 15. Figure out what the details have in common to find the main idea of the section.

Quick Tip

Sometimes headings give a clue to the central, or main, idea. As you read, list the key details that give information about the heading. What is this section mainly about? How can you use the details and the heading to identify the central, or main, idea?

Scientists can use information about past eruptions and current conditions to determine whether Mount Vesuvius will erupt.

By studying rocks, geologists can learn about past eruptions of Mount Vesuvius.

Volcanologists expect a major eruption of Mount Vesuvius to happen again.

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Volcanologists use instruments to measure shifts in the volcano’s rocks. They also measure gases. This helps them know if an eruption is about to occur. Guided Practice Your

• Say: Now it’s your turn. Have students look at the Your Turn prompt and help them complete the task: Reread “When the Monster Awakens” on pages 10-11. Find key details in the section and list them in the graphic organizer on page 15. Figure out what the details have in common to find out the main idea of the section.

• When students have completed this task, invite them to create a main idea and details chart for another section. This way, they are able to practice finding key details and identifying the main idea.

• Have students turn to page 16.

• Say: You will be responding to the reading. When we see questions about something we read, we need to be able to provide text evidence. This is the information from the text that helps us answer a question.

• Read aloud the questions and the discussion starters for each of the questions.

• Guide students to work with a partner to answer the questions orally using the discussion starters.

• Have students find text evidence to support their answers. Have them write the page number(s) where the answers can be found.

• 1. What happened to the environment around Mt. Vesuvius when it erupted in 1944? (Natural forces caused the earth to tremble and lava to flow from the volcano. The model explains how Vesuvius formed.)

• 2. What have Ramírez and other scientists learned by studying Vesuvius? (They gather evidence about past eruptions by studying rocks. Pliny’s letters describe the 79 A.D. eruption as catastrophic. Scientists predict by studying tremors and gases.)

• 3. How would an eruption of Vesuvius today affect the nearby environment? (The city of Naples would be covered in tons of ash and rock. Plans need to be made for evacuating people safely.)

RESPOND TO READING

Discuss Work with a partner. Use the discussion starters to answer the questions about “The Monster in the Mountain.” Write the page numbers.

Q uestions

What happened to the environment around Mt. Vesuvius when it erupted in 1944?

What have Ramírez and other scientists learned by studying Vesuvius?

D iscussion S tarte rs

In 1944, Mt. Vesuvius . . .

The model and the caption explain . . .

Text E vidence

Page(s):

How would an eruption of Vesuvius today affect the nearby environment?

Geologists gather evidence about past eruptions by . . .

Documentation about the 79 A.D. eruption tells us . . .

Scientists make predictions by . . .

The city of Naples is . . . Plans need to be made for . . .

Page(s):

Page(s):

• After students attempted the activity, call on students to share their answers.

• Ask: How do we know what the answers are? (Students should be able to say something about looking back in the text to find the information.)

Discuss Discuss the prompt below. Think about how the author describes and presents the information. Use your notes and graphic organizer.

How does the author help you understand the ways in which Mount Vesuvius might affect people in the future?

The author provides readers with a history of Mount Vesuvius as well as Marta Ramírez’s history in studying the volcano. An illustrated model is included to help readers visualize just how Mount Vesuvius formed. Along with the text, this helps readers understand the massive amount of pressure that led to the volcano’s formation.

As Ramírez describes her experience with Mount Vesuvius, she uses figurative language such as “I’ll be watching this sleeping monster, just in case it starts to wake up.” This language helps the reader understand the serious threat that Mount Vesuvius poses. The headings in the selection also give readers a sense of what lies in store for those living near Mount Vesuvius by providing a chronology that leads to a glimpse into the future.

Quick Tip

Use these sentence starters to discuss the text and to organize ideas.

• To begin with, the author provides a history of . . .

• The author also uses language . . .

• Text features help readers visualize . . .

Readers to Writers

When you write about a text, it is important to use text evidence to support your ideas. Using details and information from the text makes your ideas stronger. It also helps your readers understand what you are communicating. If you can’t find evidence to support your ideas, you may need to read the text again and take notes.

• Have students look at page 17.

• Before reading the prompt with students, say: You will be responding to the reading by answering a specific question based on the notes you took.

• Read the Discuss prompt together: Discuss the prompt below. Think about how the author describes and presents the information. Use your notes and graphic organizer.

• Read the Quick Tip and Readers to Writers boxes together with students.

• Tell students to answer the questions independently and that there will be time to share with the whole class later.

•

Explain

• Say: We will be looking at metaphors and similes. These are creative ways that an author can compare two unlike things.

• Explain that similes include the words like or as to make comparisons. Metaphors do not use like or as to make a comparison.

Model FIND TEXT EVIDENCE

• Say: Look at the Find Text Evidence section. It gives us more information about how to identify a simile and metaphor.

• Say: I see the word like is used in the first paragraph of page 9. I can determine that “glowing splinter of rock” is being compared to “a fiery dagger.” This simile also helps me visualize what the rocks looked like. If I move to paragraph 3, I see that Mount Vesuvius is being compared to a monster. Because the author doesn’t use like or as here, I know this comparison is a metaphor.

Metaphors and Similes

A simile compares two unlike things or ideas using the words like or as. A metaphor compares two unlike things or ideas without using like or as. Comparisons help readers visualize events or ideas in a text.

FIND TEXT EVIDENCE

I see the word like in paragraph 1 on page 9: Each glowing splinter of rock was like a fiery dagger This is a simile. In paragraph 3, I see Mount Vesuvius compared to a monster. This comparison does not use the words like or as, so it is a metaphor.

Each glowing splinter of rock was like a fiery dagger.

Frequent tremors and small earthquakes prove that this monster is not dead.

Your Turn Reread the sentence below from page 10. Does the sentence contain a simile or a metaphor? What is being compared?

"Every time I see this volcano up close, I think about how it had roared like a lion back in 1944."

A volcano is compared to a roaring lion.

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Guided Practice Your Turn

• Say: Now it’s your turn. Have students look at the Your Turn prompt and help them complete the task: Reread the sentence below from page 10. Does the sentence contain a simile or a metaphor? What is being compared?

Simile;

Research Plan

A plan for collecting research from a variety of sources can help you stay focused and organized to finish a product. Consider what you already know about a topic and any key words and phrases related to it. Some features of a research plan are

• a list of print, video, audio, and digital sources;

• research questions, organized by topic;

• a method for taking notes and recording information.

What are some additional examples of print, digital, visual, and audio resources?

books (print), speech (audio), historical document (digital), eyewitness account (video)

Print resources newspapers, magazine articles

Digital resources: encyclopedias, magazine articles

Visual resources: photographs, videos

Audio resources: interviews

COLLABORATE

Blog Report With a group, create a blog report about a natural disaster that has occurred in recent history. Decide as a group which disaster you will write your blog report about. Then consider these questions as you research and create the report:

• When and where did the disaster occur?

• What caused it?

• What effects did it have on people and the environment?

As a group, discuss how you will incorporate digital, audio, and video resources such as photographs, hyperlinks, or audio clips into your report. After you finish, you will be sharing your blog report with your classmates.

The list above shows one student’s plan for the types of sources she will use to collect information about a natural disaster.

Tech Tip

Consider using an electronic note-taking tool to take notes as you research your topic.

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• Tell students that before they begin to research, they should create a plan for collecting the information they will need. This can help them to stay focused on their topic.

• Have students read the Research Plan section, including the sidebar. Then, ask them to answer the question at the center of the page on the given lines.

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Guided Practice Blog Report

• Say: Now it’s your turn. Have students look at the Blog Report prompt and help them begin their initial work with their partner.

• Students will need to choose a natural disaster that has occurred in recent history.

• Remind students to read the prompt carefully and make sure they include all the listed items on their blogs.

• Read the Tech Tip box together with students.

• Play track 04. Students will first listen and then repeat the sentences.

• Use the Define/Example/Ask routine to introduce each vocabulary word.

• Ask students to read the bolded vocabulary words with you: constantly, educate, frightening, hooked, passion, permanent, and pit.

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: What is something you do constantly? (I constantly drink water.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for educate (My parents educate me about being kind to others.), frightening (I find thunderstorms frightening.), and hooked (I am hooked on playing soccer.).

• Invite one or two students to share their responses.

VOCABULARY

constantly adv. without stopping

They constantly check their phone for updates on the earthquake. What is something you do constantly ?

educate v. teach; instruct

It’s important to educate people about proper nutrition. What kinds of things do your parents educate you about?

frightening adj. scary; terrifying

Being chased by my neighbor's dog was a frightening experience. What is something that you find frightening ?

hooked adj. enjoying something so much that you want to do it as much as possible

I first got hooked on rock climbing when I was eight years old. What is something you are hooked on?

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

passion n. a very strong feeling of liking something

My grandmother has a passion for baking and loves to make cakes and cookies. What do you have a passion for? permanent adj. unchanging; remaining the same always or for a long time

Although the town is always changing, the old clock tower is a permanent feature. What is an example of something permanent ?

pit n. a large hole dug into the ground

They dug a pit as a trap for tigers. What must a pit be like to be able to trap an animal?

COLLABORATE Your Turn Pick three words. Write three questions for your partner to answer.

• Have students think about and answer the question in blue: What do you have a passion for? (I have a passion for learning new languages.)

• Say: Look at the next two words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for permanent (An example of something permanent is the sun rising every morning.) and pit (A pit must be deep enough to prevent the animal from escaping.).

• Invite one or two students to share their responses.

• Say: Read the Your Turn prompt with me. Read: Pick three words. Write three questions for your partner to answer. (Answers will vary depending on the words that students pick and the questions they individually generated. Walk around the room to check students’ work. Questions should include the use of the vocabulary word.)

• Have students turn to page 22 and recall their previous discussion about the Essential Question: How do natural forces affect Earth?

• Have students look at the photographs on pages 22-25 before reading the story.

• Ask: What do you see? Students should be able to talk about the photographs they see on each page.

• Say: This is a Paired Read text. It is called “Donna O’Meara: The Volcano Lady.” We will listen to the audio first and then read together. When we read together, we will need to do some tasks.

• Play track 05 and have students follow along in their books as they listen to the text. Stop at the end of the text on page 25.

• Have students go back to page 22. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

PAIRED READ

FIND TEXT EVIDENCE

Read

Paragraph 1

Underline the location of Mt. Stromboli.

Paragraph 1

Why did Donna and her husband, Steve, huddle together in the cold air?

They got stuck on the side of the erupting volcano.

Paragraph 2

What have Donna and Steve been doing together for over 25 years?

They have worked to photograph and study volcanoes all over the world.

COLLABORATE

Talk with a partner about dangerous jobs. What dangerous job would you consider taking?

How do natural forces affect Earth?

Read how one scientist investigates one of the natural forces that affect Earth.

After a blistering hot day, a cold storm suddenly whipped around the top of Mt. Stromboli, a volcano on an island off the coast of Sicily. The temperature quickly dropped over 60 degrees. Donna O’Meara and her husband, Steve, didn’t dare try to climb down the steep slopes in the dark. They were stuck on a narrow ledge just 200 feet above a fiery, smoking pit They huddled together, shivering nonstop in the cold air. Thundering blasts from the volcano and falling rocks the size of basketballs kept them awake and fearful. When the sun came up, Donna felt cinder burns on her face. There were sharp pieces of rock tangled in her hair.

O’Meara grew up in the New England countryside. There are no volcanoes in Connecticut, but in the spring and summer there were fierce thunder and lightning storms that thrilled Donna. In school, her favorite classes were Earth science and biology. However, instead of turning her love for

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about dangerous jobs. What dangerous job would you consider taking? (I learned of a man who changes one light bulb on a really tall and scary tower every six months for a year’s pay. I think it would be cool to climb the tower, and the money would just be extra.)

science into a career after graduation, she became an artist, photographer, and writer. As she worked on different magazines and books, she gradually began to realize that something was missing in her life.

When Donna went back to school at the age of 32 to study science, her passion for volcanoes began. She took geology classes to learn more about what rocks and soil tell us about Earth. She found out that volcanism is one of the most dynamic forces in nature. Volcanoes constantly shape and change Earth. Many islands, such as the islands that make up Hawaii, were formed by volcanic activity.

In 1986, Donna visited her first volcano as Steve’s research assistant. After dodging lava bombs and feeling the heat from underground lava melting her shoes, Donna was hooked. The following year, she and Steve were married on lava that had oozed from Kilauea on Hawaii and hardened. Lava that hardens creates new landforms, and some volcanoes, such as Surtsey off the coast of Iceland, actually create new islands!

Today, Donna can’t imagine what her life would be like without volcanoes. She loves them so much she lives on one. Her home is on top of Kilauea, where she was married. This is one of the most active volcanoes in the world.

BIOGRAPHY

FIND TEXT EVIDENCE

Read

Paragraph 2

Underline what arose in Donna when she returned to school at age 32.

Paragraph 3

In what year did Donna visit her first volcano? What was her job then?

• Have students move to page 23. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

Paragraph 4

Where does Donna live today?

She visited her first volcano in 1986. She was Steve’s research assistant. Donna lives on top of Kilauea.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about extreme vacations. Would you want to visit a volcano as Donna did? (I think it would be cool to visit a volcano, but I don’t want to visit one while it’s erupting, as Donna did. I’d like to hike on the volcano on a nice, calm day.)

COLLABORATE

Talk with a partner about extreme vacations. Would you want to visit a volcano as Donna did?

• Have students turn to page 24 and read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about scary experiences. What is a scary experience you’ve had? (I was once caught outside during a lightning storm. The flashes were so bright and close. I ran for the nearest house and begged to be let inside.)

FIND TEXT EVIDENCE

Read PAIRED READ

Paragraph 1

Underline the name of the organization run by the O’Mearas.

Paragraph 2

Circle what types of volcanoes Kilauea and Mt. Stromboli are.

Paragraph 3 What was the scariest experience of Donna’s life?

Being stranded on Mt. Stromboli was the scariest experience of Donna’s life.

From their home, Donna and Steve run Volcano Watch International (VWI).

The O’Mearas’ organization is dedicated to understanding how Earth’s active volcanoes work. VWI uses photographs and video to educate people about the dangers of volcanoes. Their mission is to travel to active volcanoes and document the eruptions.

The first volcano Donna studied was Kilauea, which is a shield volcano.

COLLABORATE

Talk with a partner about scary experiences. What is a scary experience you’ve had?

is a stratovolcano. A

has the common cone shape people usually picture when they think of a volcano. It is formed from explosive eruptions that build layers of ash, lava, and cinders at the top of the mountain.

Donna says the experience of being stranded on Mt. Stromboli for one freezing night was the scariest experience of her life. Since the sides of

A village is quite close to the volcano on the island of Stromboli. Millions of people around the world live near active volcanoes.

Mt. Stromboli

stratovolcano

this volcano are steep, it was impossible for the O’Mearas to travel down the slopes until the sun rose in the morning. So they were trapped on a ledge in the freezing cold with scalding rocks flying around them.

Donna O’Meara escaped from her scary night on Mt. Stromboli safe and sound. Now she and Steve hope that the knowledge they gather photographing

Pyroclastic flow is made up of hot ash, chunks of rock, and fiery gases that explode out of an erupting stratovolcano. It flows in two layers. The heavier layer carries big rocks along the ground. The lighter, top layer is called an upsurge. It contains lighter, burning ash.

and studying volcanoes will help save the lives of people who live near them. The O’Mearas’ volcano photographs, videos, and samples of volcanic rock are part of the permanent collection of the Smithsonian Institution located in Washington, D.C.

Donna believes they have the best jobs on Earth, even though their work may be the most dangerous as well.

Make Connections

How have volcanoes helped to change Earth? ESSENTIAL QUESTION

What have you learned about the natural forces that affect Earth? In what ways do these forces sometimes affect one another? TEXT TO TEXT

FIND TEXT EVIDENCE

Read

Paragraph 1

Circle what was flying around the O’Mearas as they were trapped on the ledge.

Paragraph 2

What do the O’Mearas hope to do for people that live around volcanoes?

They hope to save their lives.

Paragraph 3

What does Donna think about her and her husband's jobs?

She thinks it’s the best job on Earth.

COLLABORATE

Talk with a partner about the best jobs in the world. What do you think is the best job?

• Have students move to page 25. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about the best jobs in the world. What do you think is the best job? (I think being an ice cream taster would be the best job. Of course, I guess I’m assuming all of the ice cream would be good. I wonder how much of the ice cream they taste is gross.)

• Say: To finish analyzing the text, we are going to make connections. Look at the questions in the Make Connections box.

• Allow students to work in pairs, as small groups, or independently to answer the first question. (Volcanoes have changed Earth’s surface by building up the land. For example, stratovolcanoes build up from layers of ash, creating cone-shaped mountains.)

• Invite students to address the second question as small groups or in pairs. Students should be able to answer and discuss the question with their peers. (Natural forces like plate activity are related to both earthquakes and volcanoes. The movement of the plates can cause both earthquakes and volcanic eruptions. When an earthquake happens, a release of pressure might lead to an eruption.)

• Have students turn to page 26.

• Before reading through the page, say: We will be looking at ways to answer questions about the text.

• Call on students to help read the information on the page. Have a student read the opening question.

Talk

About It

• Invite another student to read the Talk About It section.

• Have students talk with their partners about clues that help them figure out why the O’Mearas love the work they do. (Students should be able to talk about what the O’Mearas do that shows their love for their job.)

Cite Text Evidence

• Invite another student to read the Cite Text Evidence section.

• Guide students to use text evidence to add information to the graphic organizer.

• Say: Look at the Quick Tip box. It gives us more information about citing text evidence.

PAIRED READ Reread

How does the author show that Donna O'Meara believes she has the best job on Earth?

COLLABORATE

Talk About It Reread pages 22-25. Talk with a partner about clues that help you figure out why the O’Mearas love what they do.

Cite Text Evidence What words and phrases does the author use to show that the O’Mearas love their job? Write text evidence below.

Clues

Quick Tip

When you cite text evidence, you use the words or phrases from a selection you read in your response. The text evidence should support your answer.

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• Read the Quick Tip box together. Frightening experiences on top of a volcano are not unusual for Donna O’Meara.

For over 25 years, she has worked with Steve to photograph and study volcanoes all over the world. Their mission is to travel to active volcanoes and document the eruptions.

Write I know Donna O’Meara loves her job because

Donna and Steve O’Meara love their job.

even though the job has put her and her husband in some frightening and dangerous situations, they have continued this work for more than 25 years, and they are dedicated to studying volcanoes everywhere.

Write (Show What You Learned)

• Students should refer to the notes on the graphic organizer as they respond to the writing prompt at the bottom of the page. When students have finished writing, have them share their responses.

• Say: Now, using the information you put into the graphic organizer, complete the writing activity: I know Donna O’Meara loves her job because...

Print and Graphic Features

Authors include different print and graphic features to help readers understand a topic. Some features include headings, maps, and models. Photographs and captions also support a writer’s ideas.

FIND TEXT EVIDENCE

Look at the photograph from page 24, at the bottom right, and read the caption. The author includes these features to provide evidence that some people live extremely close to a volcano.

Your Turn Look at the model on page 25 and think about the photograph and caption on page 24.

• What is the purpose of the model?

• How does the model help you understand what will happen to the village pictured on page 24 when Mt. Stromboli erupts again?

Readers to Writers

Other print and graphic features you can add to your writing include timelines, charts, and graphs. These features help you explain your ideas in a more visual, interesting way.

The model describes the pyroclastic flow that moves quickly down the sides of a stratovolcano after an eruption. It carries burning hot rocks, ash, and gases. Because the village is so close to Mt. Stromboli, a volcanic eruption would likely cover it with hot ash and gases.

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• Have students turn to page 27.

• Before reading through the page, say: We will be looking at how various print and graphic features help readers understand a topic.

• Read the Readers to Writers box together.

• • Say: Read the Your Turn prompt with me. Guide students to go back to the model on page 25 and the photograph and caption on page 24 and answer the questions on the given lines.

• Show students how print and graphic features help readers understand something about the text.

• Say: On page 24, the photograph and caption gives us an example of how some people live extremely close to volcanoes.

A village is quite close to the volcano on the island of Stromboli. Millions of people around the world live near active volcanoes.

Guided Practice Your Turn

Model FIND TEXT EVIDENCE

• Have students turn to page 28.

• Before reading the prompts with students, say: You will be thinking about all the information you’ve read and connecting it with ideas from a painting.

• Call on students to help read the information on the page. Have a student read the opening question.

Talk About It

• Invite another student to read the Talk About It section.

• Ask: If we look at the painting and read the caption, what information can we get?

• Invite students to share what they think and how they would answer the question. (Students should be able to discuss how the movement of the sea or the dark colors make them feel.)

Cite Text Evidence

• Invite another student to read the Cite Text Evidence section.

MAKE CONNECTIONS Integrate

Text Connections

How does the artist of the painting below use color and technique to paint the ocean? How is this similar to the way the authors use words to describe natural forces in the selections you have read?

COLLABORATE

Talk About It With a partner, talk about what you see in the painting. Discuss how the painting makes you feel.

Cite Text Evidence How does the feeling you get from looking at this painting compare to the descriptive writing from the selections you have read? Circle details in the painting that help you make that comparison.

Write Like the authors' descriptions of natural forces, Thomas Chambers

• Guide students to consider their feelings about the painting and compare it to the descriptive writing from the selections they read. Ask them to circle details in the painting that helps them make their comparisons. captures the destructive power of a storm at sea. The powerful winds tear at the ship’s sail while creating huge waves that lash at the ship’s hull.

Quick Tip

When you compare ideas, you show how they are the same. Focus on how the painter and the authors describe a scene. Vivid details can be used in both texts and works of art.

•

Write (Show What You Learned)

• Have students write a response synthesizing the knowledge they have built about how natural forces are depicted in art and writing. When students have finished writing, have them share their responses.

• Say: Let’s look at the painting once more. For the writing section, you will write about how the selections you have read, as well as the painting, help you understand something about describing natural forces. Take some time to consider everything we have read and talked about before you begin writing.

American artist Thomas Chambers painted Storm-Tossed Frigate in the mid-nineteenth century. An oil painting on canvas, it is now owned by the National Gallery of Art in Washington, D.C.

Present Your Work

Discuss how you will present your blog report about a natural disaster, including how you will present any print, digital, audio, and video resources. Discuss the sentence starters below and write your answers.

Use the Listening Checklist as your classmates give their presentation.

After learning more about a natural disaster that occurred in recent history, I

If you use hyperlinks in your blog, check that they work correctly before you give your presentation. Tech Tip

Listening Checklist

Listen actively by taking notes on the presenter’s ideas. Pay attention to information presented visually. This will help you better understand the information being presented. Ask relevant questions. Provide feedback and make pertinent comments.

•

• Have students turn to page 29.

• Tell students that they will need to prepare in order to best present their blogs. Say: Last time, you had the chance to gather information about a natural disaster that occurred in recent history. Now you will have the time to present the blogs that you wrote. Read together the directions at the top of the page.

• Remind students that they will be audience members for other students’ presentations and that as observers and listeners, they will play an important role in the presentations.

• Next, read the Tech Tip box with students and discuss how to check hyperlinks if they were included in the blog.

I am interested in finding out more about

•

During the Presentation

• Tell students to write down any questions they have while observing others’ presentations. Explain that doing so will help them remember their questions after each speaker has finished.

• Following each presentation, guide the discussion by asking students to paraphrase or summarize the key ideas from the presentation.

• Guide students to use the provided sentence starters to help focus their discussion and responses.

• Discuss each item on the Listening Checklist and remind students to use these skills while listening to their classmates’ presentations. Give students time to practice their presentations before having them share their blogs either in front of the class or from their seats.

Genre Writing: Write Your Own Narrative Nonfiction Essay

Explain that students will develop a longer piece of writing in the same genre as the Shared Read or Paired Read. Students will work through all the stages of the writing process for these pieces.

Plan

Draft

Revise

Writers choose their topic. They consider their purpose and audience and plan their work using a range of strategies such as brainstorming, freewriting, and filling in graphic organizers. Sometimes they do research.

Writers use their notes to get their initial ideas on the topic down on paper.

Writers use rubrics and participate in peer and teacher conferences to help them refine the structure and content of their work. Students should revise their writing several times.

Writers check their spelling and edit their pieces for correct grammar, mechanics, and usage. Remind students that using standard English conventions allows them to communicate more effectively. Publish / Present / Evaluate

Writers create a final version of the piece by printing out a clean copy or using their best handwriting. They synthesize and share their ideas.

Expert Model

• Discuss description

• Write the draft

• Revise the narrative nonfiction essay, checking for strong conclusion

• Revise the narrative nonfiction essay based on partner feedback

• Edit the narrative nonfiction essay, checking for correct grammar

• Proofread the narrative nonfiction essay, checking for correct spelling

• Publish and present the narrative nonfiction essay

• Self-evaluate using a rubric

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Features of a Narrative Nonfiction Essay

• Have students look at page 30.

• Explain that students will begin writing a narrative nonfiction essay.

• Review the features of narrative nonfiction. Ask students to recall what they know about narratives and nonfiction that can help them with their own writing.

Analyze an Expert Model

• First, we need to analyze an expert model. For us, we will be analyzing “The Monster in the Mountain.” It is our example of narrative nonfiction.

• Have students read the Analyze an Expert Model section with a partner to collaborate.

• Say: Work with your partner to answer the questions on this page. We will go over your ideas in a few minutes.

GENRE

Expert Model

Features of a Narrative Nonfiction Essay

A narrative nonfiction essay is written in the form of a story. It informs readers about a real subject by presenting information in an interesting way. A narrative nonfiction essay

• tells about real people and events

• may include the writer’s feelings and opinions

• presents facts and includes text features

Analyze an Expert Model Studying “The Monster in the Mountain” will help you learn how to write a narrative nonfiction essay. Reread pages 9-11. Then answer the questions below.

How does the author use storytelling to talk about the experience of Marta Ramirez?

The author uses narrative to tell Ramirez’s story so that readers can experience what the subject was going through. By shifting to the first person after the introduction, the story feels more vibrant and alive.

What important detail does the author give in the first paragraph?

The author tells us that Ramirez first saw Mt. Vesuvius on a newsreel when it erupted in 1944.

Shared Read (pages 8-11)

Word Wise

The author uses adjectives and similes to provide a vivid description and help the reader visualize the scenes. Consider the following sentence: Each glowing splinter of rock was like a fiery dagger. Using adjectives and similes like this allows the author to create a much more interesting sentence than “The falling rocks were scalding and dangerous.”

Plan: Choose Your Topic

COLLABORATE

Freewrite Think about times when you saw or heard about natural forces causing destruction to a place. On a separate sheet of paper, quickly write down your ideas for five minutes without stopping. Do not worry about spelling, grammar, or punctuation. Then exchange papers with a partner and discuss each other’s ideas.

Quick Tip

Writing a narrative nonfiction essay like “The Monster in the Mountain” requires deep research and understanding of the subject. Before you begin writing, research various events. Can you imagine yourself experiencing these events? This is the first step in writing narrative nonfiction.

•

Freewrite

• Have students look at page 31.

• Say: Before we begin to write something, we need to come up with ideas. We can do this by freewriting for about five minutes.

• Invite a reader to read the Freewrite section. Then give students time to share their ideas with a partner.

Writing Prompt Choose one of the events from your freewriting. Write a narrative nonfiction essay about it. Make sure the experience you will discuss was a real event so that your narrative will be nonfiction.

I will write my personal narrative about

Purpose and Audience Think about who will read or hear your narrative. Will your purpose be to persuade, inform, or entertain them? Then think about the language you will use to write your narrative nonfiction essay.

My purpose is to

My audience will be

seeing the road wash out in a storm. share my experience through a narrative format. my fellow students sharing my classroom.

informal

I will use language when I write my narrative nonfiction essay.

Plan In your writer’s notebook, make a Sequence of Events Chart to plan your essay. Using notes from your freewriting, fill in the chart with the most important events in time order.

•

Plan

• Read the Quick Tip box with students and answer clarifying questions they may have about researching before they begin writing.

• In their writer’s notebooks, have students create a Sequence of Events Chart to help them plan their essay. They can use their notes from their freewriting to begin filling in the chart with the most important events in time order.

• If time allows, ask students to share something they talked about.

Writing Prompt

• Say: Choose one of the events you shared with your partner to write about in a narrative nonfiction essay. Write your topic on the line in the middle of the page.

Purpose and Audience

• Explain that authors often write narrative nonfiction essays to share information about an interesting topic or subject with their readers.

• Give students time to consider their audience and record their ideas on the given lines.

•

• Have students look at page 32.

• Say: Part of planning our writing is thinking about when different events happen. Let’s read about how to organize and develop the sequence in a narrative nonfiction piece.

• Tell students that authors think carefully about how to order events. They often use sequence words to help readers follow the order.

• Say: Be sure you look at and are able to answer the questions listed on this page. They will help you ensure that your narrative is understandable to your readers.

• Read the Quick Tip box with students before they begin the Put Events in Order activity.

GENRE WRITING

Plan: Sequence

Put Events in Order Once you have decided on your topic, you will need to plan the sequence, or order, of events in your narrative. The sequence of your narrative will help readers understand what happened and why. To make sure you cover everything, answer these questions:

• Am I telling the events in the order that makes the most logical sense?

• How, when, and where does this event begin?

• Have I used signal words and transition words such as first, earlier, then, next, after, before, later, meanwhile, and last to show the sequence from beginning to end and how events are connected?

List two things you will talk about in the sequence of your nonfiction essay.

I will write about trying to get home in a storm.

I will write about the road flooding and blocking our path.

Take Notes In your writer’s notebook, make notes on your topic. When you have finished making notes, revise your Sequence of Events Chart to organize the information for your essay. Include only the most important details to keep your chart entries brief.

Quick Tip

After you determine the order in which things happened, visualize your writing. Write or draw what happened first, next, and so on. Use these sentence starters to help you.

• The essay’s introduction will include . . .

• Then I will talk about . . .

• I will end by . . .

•

Take Notes

• Tell students that before they write their narratives, they will need to take notes on their topic. After finishing their research and collecting notes, students can add to their Sequence of Events Chart to organize their information.

• Remind them to only include the most important information and details.

Draft

Description Writers of narrative nonfiction essays use vivid descriptive language to depict events. They use words and phrases that allow readers to visualize the experience and understand the real-life characters' thoughts and feelings. In the selection below from “The Monster in the Mountain,” the author uses the first person to describe what Ramírez saw and felt.

Finally reaching the rim, we gazed at the spectacular view. We stared 800 feet down into the crater. It was quiet for now, but I knew it was only sleeping. Frequent tremors and small earthquakes prove that this monster is not dead.

Now use the above excerpt as a model to write a paragraph that could form a part of your narrative nonfiction essay. Think carefully about the descriptions to use.

Quick Tip

Think about each of your senses in turn as you choose your descriptive words. Consider which words you’d use to describe a thing through touch, smell, sight, etc. Then determine the most interesting and evocative descriptions to add to your narrative.

As I stood looking down into the canyon, my mind wandered along the path we’d be hiking down. It was so narrow, and the canyon was so deep. It would take two hours to hike down. How much quicker would it be if my foot slipped, I wondered nervously.

Write a Draft Use your Sequence of Events Chart to help you write your draft in your writer’s notebook. Don’t forget to use signal and transition words to help your audience understand the order in which things happen. Include plenty of descriptive details to help your readers understand your experience.

•

Description

• Have students look at page 33.

• Explain that authors use descriptive language to talk about events. This allows readers to visualize what is happening and understand the reallife characters’ thoughts and emotions.

• Have students read the excerpt from “The Monster in the Mountain,” to see how the author uses first-person perspective to describe what Ramirez saw and felt. Then, invite them to use the excerpt to help them write a paragraph for their own narrative.

Write a Draft

• Have students review the charts they created during the Plan phase. They will use their charts as they write their drafts.

• Remind students that their narrative nonfiction should include descriptive details as well as signal and transition words to show the order of events.

• Read the Quick Tip box together with students and discuss what it means to write a first draft.

• Give students time to work on their drafts. If they are stuck, or need help, ask them questions about their ideas that might help them get back on task.

Strong Conclusion

• • Have students look at page 34.

• Say: Now that you have your first draft written down, you can start the revision process. This means you make improvements on what you have written.

• Explain that writers will include a strong conclusion to their narrative nonfiction essay to give a sense of closure for the readers.

• Have a student read the activity prompt for Strong Conclusion.

• Give students time to respond before asking them to share their ideas.

Revision

• Say: Now, it’s time to revise your writing. Be sure to reread your draft and check that your conclusion is strong. It should show why the experiences were important to you.

• Read the Quick Tip Box together with students to give further clarity on the revision process.

GENRE WRITING

Revise

Strong Conclusion An effective narrative has a strong conclusion that gives a sense of closure or ending. Combining ideas may make a conclusion stronger by helping readers focus on the experiences that are most important to the writer. Read the paragraph below. Then revise the last four sentences to make a stronger conclusion.

Last summer, my family made a visit to the Grand Canyon. We hiked all day along a trail down into the canyon. It was scary because it got really narrow at times. I thought about turning back many times, but I didn’t. I made it to the bottom. I didn’t get hurt. I triumphed. I am proud.

Last summer, my family made a visit to the Grand Canyon. We hiked all day along a trail down into the canyon. It was scary because it got really narrow at times. I thought about turning back many times, but I didn’t. I’m proud that I made it to the bottom without getting hurt. What a triumph!

Revision Revise your draft and check that your conclusion is strong. Make sure it shows why the experience was important to you.

Quick Tip

As you revise, reread your sentences for strength. Each of your sentences should earn its place in your writing. If a sentence sounds weak or out of place, you may need to rewrite or rearrange it. The revision stage is the time to make sure all sentences are clear and that the ideas are easy to follow.

•

Peer Conferences

Review a Draft Listen actively as a partner reads his or her work aloud. Take notes about what you liked and what was difficult to follow. Begin by telling what you liked about the draft. Ask questions that will help your partner think more carefully about his or her writing. Make suggestions that you think will make the writing more focused and coherent. Use these sentence starters:

I enjoyed reading this part of your draft because . . . You might improve this description by . . .

I have a question about . . . You could revise your conclusion to . . .

Partner Feedback After your partner gives you feedback on your draft, write one of the suggestions that you will use in your revision. Refer to the rubric on page 37 as you give feedback.

Based on my partner's feedback, I will

improve the strength of my conclusion. Revision

After you finish giving each other feedback, reflect on the peer conference. What was helpful? What might you do differently next time?

Revision As you revise your draft, use the Revising Checklist to help you figure out what ideas you may need to add, delete, combine, or rearrange. Remember to use the rubric on page 37 to help with your revision.

Revising Checklist

Does my essay fit my purpose and audience?

Is my sequence of events clear and logical?

Did I use enough descriptive language?

Do all of my paragraphs have a topic sentence?

Do I have a strong conclusion that gives a sense of closure?

•

• Have students look at page 35.

• Say: Writers often need other people to help them through their revisions. We are going to help each other revise our narratives.

• Partners should already be in place to complete this activity. Say: Listen carefully while your partner reads their work. Once your partner has finished, talk about what you liked about their narrative. Then, you can ask questions or make suggestions using kind words.

• Have students use the sentence starters on the page, or their own, to talk about their partner’s draft.

• Say: At this point, it’s time to take the feedback you received from your peer conferences and make additional revisions.

• Review the Revising Checklist together. Allow students time to implement suggestions. Tell students that the rubric on page 37 can also help with revision. Go over each box so students know how to reach each score. Give students time to consider the feedback they received.

• After students have completed their revisions, allow them time to share how their partners’ feedback helped improve their narratives.

• After both partners have given feedback, have students complete the task in the Partner Feedback section.

• Have students share the suggestion from their partner that they intend to implement in their revision.

•

• Have students look at page 36.

• Tell students that after they have finished their drafts, they must go back to edit and proofread. Say: We are nearly done with the writing process for the narrative nonfiction. At this point, you don’t need to make really big changes. In the Edit and Proofread section, you will make sure your work is ready for publication.

• Read the information at the top of the page with students. Tell them that the Grammar Connections box and the Editing Checklist are all things to consider as they work to put the final revisions on their narratives.

• Give students time to go through their writing to edit and proofread. Ask them to list two mistakes that they found while proofreading their narrative nonfiction essay on the lines provided.

GENRE WRITING

Edit and Proofread

When you edit and proofread your writing, you look for and correct mistakes in spelling, punctuation, capitalization, and grammar. Reading through a revised draft multiple times can help you make sure you’re catching any errors. Use the checklist below to edit your narrative.

Editing Checklist

Do all sentences begin with a capital letter and end with a punctuation mark?

Are commas used correctly?

Do all of the paragraphs have a topic sentence? Is capitalization used correctly throughout the essay? Is proper grammar used throughout the essay?

Are all words spelled correctly?

List two mistakes you found as you proofread your narrative nonfiction essay.

As you edit your draft, check verb tenses and the spelling of irregular verbs. Remember, a present tense verb shows action happening now: Today, I am playing with the team

A past-tense verb shows action that already happened: Yesterday, I went to tryouts

A future tense verb shows action that will happen: Tomorrow, our team will play its first game!

Grammar Connections

Publish, Present, and Evaluate

Publishing When you publish your writing, you create a clean, neat final copy that is free of mistakes. As you write your final draft be sure to write legibly in cursive. Check that you are holding your pencil or pen correctly.

Presentation When you are ready to present your work, rehearse your presentation. Use the Presenting Checklist to help you.

Evaluate After you publish your writing, use the rubric below to evaluate your writing.

What did you do successfully?

What needs more work?

• has a logical sequence of events with transition words to connect events

• uses plenty of descriptive language to tell an experience, including thoughts and feelings

• has a strong conclusion that gives a sense of closure

• few, if any, errors in grammar or spelling

• has a mostly logical sequence of events with some transition words to connect events

• uses some descriptive language to tell an experience, including thoughts and feelings

• has a conclusion that does not give a complete sense of closure

• some errors, but not enough to affect meaning

• has a sequence of events that is not logical with few transition words to connect events

• talks about an experience but lacks descriptive language and includes few thoughts or feelings

• has a weak or abrupt conclusion

• frequent errors that might confuse the reader

Presenting Checklist

Stand or sit up straight. Look at the audience and make eye contact. Speak slowly and clearly, enunciating each word.

Speak loud enough so that everyone can hear you.

Use natural gestures to engage your audience.

• does not have a particular sequence of events

• does not share an experience and has no descriptive details

• does not have a conclusion

• many errors, making it difficult to follow

Publishing

• • Have students look at page 37.

• Once their drafts are final, students can prepare for publishing and presenting their work. Published work should be error-free with all visuals in place.

• Say: You have now finished your narratives and are ready to publish your work.

• Read the Publishing section together with students. Allow students time to create their final copy of the narrative. Remind them that they can add illustrations or other visuals once their writing is done.

Presentation

• Say: You will have the opportunity to present your narrative and any illustrations or visuals to the whole class. To prepare for the presentation, practice a few times and refer to the Presenting Checklist.

•

Evaluate

• Explain that rubrics show what is expected from the assignment and how it will be evaluated. Ideally, students should look at rubrics before they begin writing in order to fulfill all the requirements. When they finish, they should evaluate their work.

• Say: After you have presented, evaluate your writing using the rubric. Think about what you did successfully and what you think needs more work. Write down your ideas on the lines.

• Have students exchange their writing with a partner and give the partner a score. Remind them to be respectful. When they are finished, have students reflect on the effectiveness of the collaboration and on their progress as writers. Have them note where they need improvement and set writing goals.

•

Explain

• Read the Key Concept and Essential Question to students.

• Have students repeat after or choral read the Essential Question a second time. Ask students to share their initial ideas about the Essential Question.

• Tell students that a person’s perspective is the way he or she sees the world. New experiences change one’s perspective.

Model

• Have students look at and discuss the photograph. Focus on how the people are experiencing a common occurrence—viewing the stars—in a new way, as well as how their experience may influence the way they view an idea.

• Ask: What new perspectives might the people in the photograph be gaining? (They might be gaining a new perspective on the beauty of the night sky and nature while camping outside.) What experiences can give people a new perspective? (Traveling to a new place can help people learn about different cultures and ways of life.)

• Give students time to discuss with their partners. Move around the classroom to check for understanding.

Key Concept Perspectives

Essential Question

How do new experiences offer new perspectives?

The people in the photograph live in a big city. It can be hard to see stars at night in a city because the city lights can make the sky too bright for even a glimmer of stars to show. In the country, it is possible to have another perspective of the night sky.

Look at the photograph and discuss with a partner what new perspectives the people might be gaining. Then describe an experience you had that gave you a new perspective. Fill in the web with ways in which new experiences can offer new perspectives.

Camping can offer new perspective on nature.

Traveling can give a new perspective about other cultures and ways to do things.

Reading can give new perspective on viewpoints.

New experiences can help you discover things you like. Playing a new sport can give a new perspective on teamwork.

• • Have students read the Collaborate prompt: The people in the photograph live in a big city. It can be hard to see stars at night in a city because the city lights can make the sky too bright for even a glimmer of stars to show. In the country, it is possible to have another perspective of the night sky.

• Say: Look at the photograph and discuss with your partner what new perspectives the people might be gaining. Think about and then share an experience you have had that gave you a new perspective.

• Have students fill in the web with ways in which new experiences can offer new perspectives.

• Give students time to work on their webs before asking them to share their ideas with the class.

• Play track 07. Students will first listen and then repeat the sentences.

• Use the Define/Example/Ask routine to introduce each vocabulary word.

• Ask students to read the bolded vocabulary words with you: consolation, glimmer, harmless, heinous, indispensable, majestic, mess up, and pasture.

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: When have you been offered consolation after something bad happened? (I was offered consolation after failing a difficult test.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for glimmer (A supportive message from a friend might give people a glimmer of hope.), harmless (A goldfish would make a harmless pet.), and heinous (A person with no empathy might do something heinous.).

• Invite one or two students to share their responses.

VOCABULARY

consolation n. something to make you feel better when you are sad or disappointed

The winner got a trophy, and everyone else got a medal as a consolation . When have you been offered consolation after something bad happened?

glimmer n. a small sign of something; a light that is not bright

There is still a glimmer of hope that it might snow this year. What might give people a glimmer of hope in difficult times?

harmless adj. causing no harm or damage

Millipedes are harmless, so you don’t need to be scared of them. What animal would make a harmless pet?

heinous adj. terrible; shocking

Stories of heinous war crimes make you wonder how people can be so cold-blooded. What kind of person would do something heinous ?

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

indispensable adj. unable to do without; absolutely necessary

This sunscreen will be indispensable on our trip to the desert. What is something you think is indispensable ? majestic adj. very big, impressive, or beautiful

The majestic mountains seemed to touch the sky. What is something you think is majestic? mess up phr. v. make mistakes

I’m still learning the song, so sometimes I mess up How do you usually feel when you mess up something?

• Have students think about and answer the question in blue: What is something you think is indispensable? (I think water is indispensable for staying healthy.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for majestic (I think a beautiful sunset is majestic.), mess up (I usually feel determined to improve when I mess up something.), and pasture (You would find cows in a pasture.).

• Invite one or two students to share their responses.

pasture n. land covered with grass for animals to eat

The sheep were wandering around the pasture

What kinds of animals would you find in a pasture ?

• Continue to introduce each vocabulary word using the Define/Example/Ask routine.

• Ask students to read the bolded vocabulary words with you: perception, phobic, resist, rickety, sarcastic, suburban, and threshold

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: Could you be friends with someone whose perception of things is very different from yours? (Yes, I could be friends with someone whose perception is different if we learn from each other.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for phobic (I am phobic about snakes.), resist (I find it hard to resist ice cream on a hot day.), and rickety (I could repair a rickety old shed to make it sturdy again.)

• Invite one or two students to share their responses.

VOCABULARY

perception n. one person’s view of a thing or event

My perception changed as I learned more about the people and their culture. Could you be friends with someone whose perception of things is very different from yours? phobic adj. having a fear of something

She’s pretty phobic about spiders. What are you phobic about?

resist v. stop yourself doing something you like It’s hard to resist all of the delicious snacks at the party. What do you find hard to resist ?

rickety adj. poorly made; likely to break

The bridge seems pretty rickety, but there’s no other way to cross the river. What could you do with a rickety old shed?

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

sarcastic adj. saying things that aren’t true in a mocking tone

“I really admire your ability to mess up a simple task,” she said in a sarcastic tone. When might you say something sarcastic? suburban adj. in an area where people live that is away from the center of a city

I grew up in a small suburban neighborhood. How are a suburban area and a city center different?

threshold n. the beginning of something new; the ground at the entrance of a building or room

He watched the sun rise on the threshold of a new day. How do you feel when you’re on the threshold of success?

COLLABORATE Your Turn Pick three words. Write three questions for your partner to answer.

• Have students think about and answer the question in blue: When might you say something sarcastic? (I might say something sarcastic when something goes wrong repeatedly.)

• Say: Look at the next two words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for suburban (A suburban area has less traffic than a city center.) and threshold (When I’m on the threshold of success, I feel motivated to keep going.).

• Invite one or two students to share their responses.

• Say: Read the Your Turn prompt with me. Read: Pick three words. Write three questions for your partner to answer. (Answers will vary depending on the words that students pick and the questions they individually generated. Walk around the room to check students’ work. Questions should include the use of the vocabulary word.)

TAKE NOTES

Making predictions helps you focus your reading. Use the illustrations and what you know about realistic fiction stories to make a prediction. As you read, you can see if your prediction is confirmed or if you need to correct it. This will help you check your understanding. Write your prediction below.

SHARED READ Music

As you read, take note of

How do new experiences offer new perspectives?

Read about the way a girl’s outlook changes when she moves to a new home.

Before Reading

Build Background

• Have students share and describe the types of places they have lived in. Discuss the differences and similarities between living in the country and the city. Say: Let’s talk about what it’s like to live in the country compared to the city. Think about what activities you can do in each place and how they are alike or different.

• Have them describe using “In a city/country, people can ____. One similarity/difference is ____.” (In a city, people can visit museums and theaters. One similarity is that both places have schools.)

• Read the Essential Question: How do new experiences offer new perspectives?

• Explain the meaning of the Essential Question, including the vocabulary in the question. Say: Experiences are the things that happen to you or the things that you do. Your experiences affect your perspectives, or the ways you think about something.

• Model an answer. Say: The girl who visited the Tlingit clan house experienced a new way of living. She saw that a large group of people could live together in one space. This experience changed her perspective about how people can live.

• Have students connect the Essential Question to their background knowledge. Say: Turn to a partner and think of an experience you had that helped you see something differently. Explain what happened and how it changed your perspective. Then, we’ll share our ideas with the class. Call on several pairs to share their discussions.

Set Purpose for Reading

• Say: Today we will read “Cow Music” and focus on understanding how the main character adapts to a new environment. As we read, think about the Essential Question: How do new experiences offer new perspectives?

Take Notes

• Have students look at the TAKE NOTES prompt on page 44.

• Use headings to help students predict what the sections will be about. Page 44

• Guide them to write down their questions, interesting words, and key details from the text in the left column on page 44.

Previewing the Text

• Before students begin reading the story, have them look at the images and headings on pages 44-47.

• Ask them to share what they see on each page to activate their prior knowledge, engage their curiosity, and enhance their comprehension of the story.

• Have students go back to page 44.

• Ask: What do you notice about the setting in the illustration? (It looks like a city with tall buildings.) Based on the title, do you think the story will be about the country or the city? (Based on the word cow, it might be about the country.)

Listening Activity

• Play track 08 and have students follow along in their books until the end of page 47.

• After listening, invite them to share what they heard or ask questions.

• Reassure them that it’s okay if they don’t remember everything, as the story will be reviewed in detail during class.

During Reading

Interactive Question-Response Routine

• After each paragraph, ask questions to help students understand the meaning of the text.

• Explain difficult or unfamiliar concepts and words.

• Reinforce the meaning of new vocabulary.

• Ask students questions that require them to use the vocabulary.

• Reinforce weekly strategies and skills by modeling and asking questions.

• Use images and other text features to aid students’ comprehension.

REALISTIC FICTION

Farewell to Me

I crammed one last box into the back seat and slammed the car door. It felt as if I were slamming the door on my whole life. At first, I was thrilled when Mom told me she’d gotten a fantastic new job as a veterinarian at an animal hospital. Then, because she always saves the bad news for last, she told me the really heinous part. The hospital wasn’t in our city; it was miles away in the middle of nowhere. And I’m definitely not a country girl.

I slouched against the car, taking a last look at our building. To most people, it probably just looks like any other old apartment house, but I love every grimy brick. Soon I’d be staring at piles of hay.

Just then, I heard a bright blast of music and saw my best friends, Hana and Leo, come charging up to me. While Hana played a cool riff on her trumpet, Leo sang, “We will miss you, Celia . . . At least you won’t be in Australia.” I raised my eyebrows.

Laughing, Leo said, “Hey, you find something to rhyme with Celia!”

“You guys are utterly indispensable!” I blurted out. “How will I live without you?”

“Ever hear of texting?” asked Hana, punctuating her question with a loud trumpet honk. I jumped into the car fast so no one could see me tear up. As Mom pulled away, I waved goodbye to my friends, my neighborhood, and my life.

We rode a while in silence, and I wedged my violin case beneath my legs for comfort. Leo, Hana, and I had been writing songs for our band, but that was all over now. “Don’t think of this as an ending,” Mom said, with her knack for reading my mind. “It’s an exciting beginning, and we’re on the threshold of a breathtaking new adventure.”

“Yeah, it’ll be great. I couldn’t be happier,” I said glumly.

“Don’t be sarcastic, mija,” Mom said. “It’s so unattractive.”

FIND TEXT EVIDENCE

Read

Paragraphs 1–6

Character, Setting, Plot

Circle the name of the main character of the story. Underline the problem the main character has. Why is the main character upset?

Celia has to move to the country and leave the city and her friends.

Paragraphs 7–9

Visualize

Draw a box around the sentence that describes the car ride.

Make Inferences

Why do you think Celia and Mom are quiet at the start of the car ride?

When you are angry or upset, sometimes it is better to say nothing for a while. This is what Celia is doing.

Reread

Author's Craft

Why is "Farewell to Me" a good title for this section?

FIND TEXT EVIDENCE

Paragraphs 1–6

Character, Setting, Plot

• Read paragraphs 1-6 together. Say: We are going to focus on identifying the main character, the problem they face, and why they are upset. This will help us understand the story better. We will find and circle the main character’s name, underline the problem they have, and explain why the main character is upset using text evidence.

• Ask: Who is the main character of the story? (The main character is Celia.) What problem does Celia have in the story? (Celia has to move away from her home and friends because her mom got a new job far away.) Why is Celia upset about moving? (Celia is upset because she loves her current home and will miss her friends, Hana and Leo.)

• Read the Character, Setting, Plot prompts with the students and have them complete the tasks: Circle the name of the main character of the story. Underline the problem the main character has. Why is the main character upset? (Celia has to move to the country and leave the city and her friends.)

Paragraphs 7–9

Visualize

• Read paragraphs 7-9 together. Say: I read that Celia “jumped into the car fast so no one could see me tear up.” That tells me that Celia is very upset about leaving the city. In fact, the author helps me visualize how Celia feels by describing that she and her mother sat quietly in the car. I can picture Celia sitting in the front seat next to her mother not saying a word. Have students find another word or image that helps them visualize Celia’s sadness.

• Read the Visualize prompt with the students and have them complete the task: Draw a box around the sentence that describes the car ride.

Make Inferences

• Ask: Why do you think Celia doesn’t want to speak to her mother? (because she is very angry and upset about having to move to the country) Discuss with students why they might not speak to someone when they are angry or upset.

• Monitor students’ understanding of how Celia feels about the change that is happening in her life. Ask: Why does Celia feel that she is waving goodbye to her friends, her neighborhood, and her life? (Celia loves living in the city and hanging out with her friends who share her interest in music. She feels that she will never find friends like that in the country.) Have students predict whether they think Celia will always feel this way. Ask: What text evidence in the story supports your prediction? (“Yeah, it’ll be great. I couldn’t be happier,” I said glumly.)

• Read the Make Inferences question with the students and have them complete the task: Why do you think Celia and Mom are quiet at the start of the car ride? (When you are angry or upset, sometimes it is better to say nothing for a while. This is what Celia is doing.)

• Tell students that they will reread this page to analyze the techniques the author used in writing this selection.

• Explain that authors often use titles to separate and describe sections of a story. Have students preview the three titles the author includes in “Cow Music.” Ask: Why do you think the author provides these titles? (to tell readers what each section of the story is about)

• Read the Author’s Craft question with the students and have them answer it: Why is “Farewell to Me” a good title for this section? (The title describes how Celia feels as she begins her move from the city to the country. She has to say goodbye to this chapter of her life as she moves onto the next.)

Reread

Author's Craft

SHARED READ

FIND TEXT EVIDENCE

Read

Paragraphs 1–5

Character, Setting, Plot

Circle words that tell you how Celia feels about the city. Underline words that tell you how she feels about the country.

Paragraphs 6–8

Narrator and Dialogue

Whose thoughts and feelings do you learn about in this part of the text?

Celia’s

Draw a box around the dialogue. Why does Celia say what she says?

Celia wants to explore and to reflect on the situation.

Being attractive wasn’t a big goal at the moment, but annoying Mom wasn’t either. So I clammed up and looked out the window as crowded, exciting city streets turned first into bland suburban shopping strips and then into endless, boring trees and fields of corn.

“Look: cows!” Mom said, as we cruised past some black-and-white blotches in a pasture.

“Sure, they seem sweet,” I said, “but I bet they have a mean streak when you’re not looking.”

“It’s normal to be a bit phobic about unfamiliar things,” Mom said, in her best patient-parent tone. “But you don’t need to be afraid of cows. They’re harmless.”

“Harmless . . . and boring,” I thought to myself. “Like everything in the country.”

Not So Bad?

We finally arrived at our new home, a two-story wooden farmhouse. It had a crooked roof, a rickety front porch, and too many places for bats to hide. “Would you mind if I don’t go in yet?” I asked.

Mom looked overwhelmed. She just nodded and said I could go explore. I felt a glimmer of hope, a small hint that country life might turn out okay. Mom never let me go out alone in the city, so maybe a bit more freedom would be one consolation of living here.

Author's Craft

How does first-person point of view affect the mood of the story?

my

didn’t

I wandered off, clutching my violin and not paying attention to where I was going. It didn’t matter; it was all just a blur of green and brown. I imagined that a big Saturday night here meant sitting around talking about corn . . . or watching it grow. I wasn’t tune. only enormous jazz I spun playing in fantastic, way Where and wearing look

Reread

Paragraphs 1–5

Character, Setting, Plot

• Read paragraphs 1-5 together. Ask: How are the words that describe the city different from the words that describe the country? (The words “crowded, exciting” tell you what Celia likes about the city, and “endless, boring” tell you what she thinks living in the country will be like.) What is Mom doing to try to make Celia feel better? (She’s trying to point out something that might get Celia interested in the country.) How does Celia react? (She uses a sarcastic tone. You can tell by her response that her mother’s attempt to make her feel better is not working.)

• Read the Character, Setting, Plot prompts with the students and have them complete the tasks: Circle words that tell you how Celia feels about the city. Underline words that tell you how she feels about the country.

Paragraphs 6–8

Narrator

and Dialogue

• Read paragraphs 6-8 together. Ask: How does what Celia says help you infer how she feels? (Celia doesn’t like the way her new home looks from the outside. She wants to be by herself for a while before she goes inside.) Why does Celia feel a glimmer of hope about country life? (because Mom let her explore alone, which she was never allowed to do in the city, giving her a sense of more freedom) Why do you think Celia is clutching her violin as she explores? (She wants to hold on to something from her life in the city.) What does Celia imagine doing on a big Saturday night in the country? (She imagines sitting around talking about corn or watching it grow.)

• Read the Narrator and Dialogue prompts with the students and have them complete the tasks: Whose thoughts and feelings do you learn about in this part of the text? (Celia’s) Draw a box around the dialogue. Why does Celia say what she says? (Celia wants to explore and to reflect on the situation.)

• Ask: How does Celia describe the country? (She says the countryside is “endless” and “boring” and the cows are “mean.” She feels that fun in the country “meant sitting around talking about corn…or watching it grow.”) How do these words help you understand how Celia is feeling? (They indicate that she is anxious about the move. Her words create a sad and hopeless mood.)

• Read the Author’s Craft question with the students and have them answer it: How does first-person point of view affect the mood of the story? (It helps readers learn that Celia’s perception of life in the country starts out negative, but then shifts to slightly more hopeful in the section “Not So Bad?” Even though the overall mood of the story is sad, the fact that Celia is trying to keep an open mind leaves some room for optimism.)

Help students recognize how the author compares and contrasts Celia’s feelings through the use of descriptive words and phrases to describe the setting.

• Say: Review how Celia describes the city streets, countryside, new home, and cows. How do these descriptions help readers understand Celia’s feelings? (They show her disappointment and negative feelings about the move.)

Suddenly I heard something I wasn’t expecting—a blaring, jazzy tune. I pushed through some corn only to come face-to-face with an enormous cow. Then another hot jazz riff floated through the air. I spun around and saw a tall kid playing a beat-up old saxophone in the clearing. His music was fantastic, and he didn’t dress the way I figured a country kid would. Where were the muddy dungarees and plaid bandana? This guy was wearing clothes that made him look cool, like a famous performer.

Not Bad at All!

I couldn’t resist, so I took out my violin and began to play along. The boy looked surprised, but he didn’t miss a beat. We improvised

Celia might be seeing that living in the country isn’t so bad after all. She meets Jason, plays music with him, and feels happier about her new life.

a cool duet, and by the end—no kidding—the big cow’s tail was swishing to the rhythm. “I’m Jason,” he said when we finished. “I play out here because the cows don’t complain when I mess up. You must be Celia. My dad said you were moving in. I can’t believe you play violin! I’ve been looking for someone to write songs with.”

I looked at Jason and his dented sax, the cheerful cow and tall corn, the majestic trees in the distance, and the sun shining in the brilliant blue sky. I could feel my perception of country life already changing, and I had a feeling it would change a lot more.

Make Connections

Talk about how Celia’s first experience in her new home gives her a new perspective. ESSENTIAL QUESTION

Describe a time when trying something new or unfamiliar changed your perspective.

TEXT TO SELF

When I tried a new food that looked strange, I found out I liked it, even though I thought I wouldn’t. It made me want to try more new things.

REALISTIC FICTION

FIND TEXT EVIDENCE

Read

Paragraphs 1–2

Context Clues

Underline words that help you determine the meaning of duet. Define duet.

two people playing music together

Paragraph 3

Character, Setting, Plot

How does meeting Jason change Celia's feelings about the country?

Celia thought the country would be boring. Having a friend like Jason may make it exciting.

Visualize

Draw a box around the words that tell how Celia views the country now.

Summarize

Use your notes to orally summarize the story. Be sure to include details about the key events in the story and how the main character changes. Talk about whether your prediction from page 44 was confirmed or if it needed correction.

FIND TEXT EVIDENCE

Paragraphs 1–2

Context Clues

• Read paragraphs 1-2 together. Point out the word duet in paragraph 2. Ask: Which words help you figure out the meaning of duet? (The words “saw a tall kid playing a beat-up old saxophone” describe one person playing an instrument. Later, “I took out my violin and began playing along” signals that Celia is doing the same. So, a duet is two people playing music together.)

• Read the Context Clues prompts with the students and have them complete the tasks: Underline words that help you determine the meaning of duet. Define duet. (two people playing music together)

Paragraph 3

Character, Setting, Plot

• Read paragraph 3 together. Say: Let’s see how meeting a new character, Jason, changes Celia’s feelings about living in the country. We will look at how the author describes Jason and the setting to understand Celia’s changing emotions. This will help us learn more about the character, setting, and plot.

• Ask: What did Celia do when she heard Jason’s music? (She took out her violin and began to play along with him.) How did Jason react to Celia playing the violin? (He was surprised but kept playing and introduced himself after they finished.) How did meeting Jason and playing music together change Celia’s view of the country? (Celia started to see the country as more interesting and fun, and she felt her perception of country life changing.)

• Read the Character, Setting, Plot question with the students and have them complete the task: How does meeting Jason change Celia’s feelings about the country? (Celia thought the country would be boring. Having a friend like Jason may make it exciting.)

Visualize

• Read the Visualize prompt with the students and have them complete the task: Draw a box around the words that tell how Celia views the country now.

• Reread paragraph 3 and have students box the words that indicate Celia’s feelings. Then have them compare those words to the ones they underlined on page 46. Ask: How has the author helped us understand how Celia’s view of the country has changed? (The author uses negative words to describe how Celia views the country in the beginning. By the end, the word choices are positive.)

Summarize

• After their first read, ask partners to orally summarize the selection using their notes.

• Allow students to work in pairs, small groups, or independently to complete this task. (In “Cow Music,” Celia feels upset about moving to the countryside because her mom got a new job far from the city. She misses her friends and city life. At first, Celia thinks the country will be boring, but her view changes when she hears jazz music and meets a boy named Jason who plays the saxophone. They play music together with a cow nearby, and Celia starts to see the country differently. My prediction about her feeling lonely was correct, but she ends up finding joy in her new environment.)

Make Connections

• Invite students to address the Make Connections box as a small group or in pairs. Students should be able to answer and discuss both questions with their peers.

•

• Explain to students that as they read, they can imagine or visualize what is going on. They can refer to the descriptions of people, places, and events in a story to help them create a mental picture.

• Have students read the Quick Tip box to learn more about visualizing to help their understanding.

Model FIND TEXT EVIDENCE

• Using page 46, model how to use the descriptive details to visualize to find the answers in “Cow Music.”

• Say: I have a question about why Celia is unhappy about moving. As I reread the excerpt from page 46, I look for details that can help me picture the differences that Celia sees between her old neighborhood and her new one. Celia uses words like “crowded, exciting city streets” to describe her old home. She says her new one has “endless, boring trees and fields of corn.” This helps me understand that she is not happy with her new home.

COMPREHENSION STRATEGY

Visualize

To visualize something is to form a mental picture of it. Use the descriptions of settings, characters, and events in a story to imagine what they look like. As you read on, use details from the text to add to or change your mental images.

FIND TEXT EVIDENCE

You may not be sure why Celia is unhappy about moving to the country. Reread the first paragraph on page 46. Look for details that help you visualize the differences Celia sees between her old neighborhood and her new one.

Page 46

Being attractive wasn’t a big goal at the moment, but annoying Mom wasn’t either. So I clammed up and looked out the window as crowded, exciting city streets turned first into bland suburban shopping strips and then into endless, boring trees and fields of corn.

Quick Tip

Some descriptive words appeal to your senses. This is called sensory language. Authors use sensory language to describe how something looks, sounds, tastes, smells, or feels. As you read, paying attention to sensory language will help you better visualize the story.

I read that Celia could see “crowded, exciting city streets” change to “endless, boring trees and fields of corn.” I can infer that Celia thinks the country will be much less interesting than the city.

COLLABORATE

Your Turn Reread the first paragraph on page 47. Why is this event important to the story? As you read, remember to use the strategy Visualize. Look for details that help you form a mental picture of the scene.

•

• Say: Now it’s your turn.

• Have students look at the Your Turn prompt and help them complete the task: Reread the first paragraph on page 47. Why is this event important to the story? As you read, remember to use the strategy Visualize. Look for details that help you form a mental picture of the scene. (This event is important because Celia hears and sees things that make her think the country may not be boring after all. She hears a blaring, jazzy tune with a hot jazz riff. She sees a tall kid wearing cool clothes and playing a beat-up saxophone. These are things she enjoys.)

Guided Practice Your Turn

Narrator and Dialogue

“Cow Music” is realistic fiction. Characters in realistic fiction look and act like real people. They often engage in dialogue, or conversation. The settings are places that could be real. The narrator may be a character.

FIND TEXT EVIDENCE

As I started reading “Cow Music,” I wondered who “I” was. As I read on, I understood that the character Celia is telling the story. She is the narrator. I also learn about the characters from their dialogue.

Narrator

Readers to Writers

Dialogue often reveals the thoughts and feelings of a character. It can also help you understand how a character solves a problem or what a character learns. Think about how you can use dialogue in your own writing.

The narrator is the “voice” that tells the story. Dialogue

Dialogue is what the characters say. Their exact words are placed inside quotation marks.

Your Turn Tell how the story would be different if Celia’s mother were the narrator.

•

• Explain the characteristics of realistic fiction. Realistic fiction stories often include characters who look and act like people who could be real.

• Point out that realistic fiction stories have characters who engage in dialogue, or who talk to one another. The narrator may even be a character within the story.

Read aloud a line of dialogue in “Cow Music.” What does it tell you about the character?

• Model identifying the characteristics of realistic fiction in “Cow Music.” Use page 45 how to identify who the narrator is in a realistic fiction story.

• Say: As I read the story, I wondered who “I” was. I read further and understood that the character Celia is the one telling the story. She is the narrator. The dialogue also helped me learn more about all the characters.

• Read the Readers to Writers box with students and talk more about dialogue.

•

Guided Practice Your Turn

• Say: Now it’s your turn.

• Have students look at the Your Turn prompt and help them complete the task: Tell how the story would be different if Celia’s mother were the narrator. (The story would focus on Celia’s mother’s enthusiasm for moving to the country.) Read aloud a line of dialogue in “Cow Music.” What does it tell you about the character? (When Celia glumly says, “Yeah, it’ll be great. I couldn’t be happier,” I understand that she is giving her mother a difficult time.)

•

• Tell students that throughout a fiction story, the various story elements may change. If the setting changes, that means that the characters will need to respond to that change. This moves the plot of the story forward.

• Have students read the top of the page and the Quick Tip box to learn more about how characters responding to change affect the plot.

Model FIND TEXT EVIDENCE

• Model how to identify new characters and settings in “Cow Music.”

• Say: I know from the beginning of the story that Celia is leaving the city and her friends. For this part of the story, the setting is the street just before they leave, and the car as they travel. The characters are Celia, her friends, and her mom.

Character, Setting, Plot

In fiction, changes to the setting often affect characters and shape events in the plot. As you read stories, such as “Cow Music,” comparing and contrasting details from different settings can help you make inferences about the ways characters act. It can also help you understand the most important plot events.

FIND TEXT EVIDENCE

As I reread the first section of “Cow Music,” I see that Celia thinks leaving the city means waving “goodbye to . . . my life.” Though her mother calls the move “a breathtaking new adventure,” Celia feels during the car ride that everything in the country will be “boring.”

Characters

city street, traveling in the car

Beginning Celia says goodbye to friends and watches the changing landscape.

As plot events unfold, characters respond to the events. Characters often learn important lessons as they solve problems and resolve conflict. As you read, think about what you know about a character at the beginning of a story. Pay attention to what the character learns and how the character changes.

Your Turn Reread the rest of “Cow Music.” Identify additional characters, settings, and key plot events to add to the graphic organizer on page 51. Include how Celia feels about her new home. Quick Tip

COLLABORATE

Celia, Celia’s mother, Hana, Leo

•

Guided Practice Your

Characters

Celia, Celia’s mother, Hana, Leo

Setting

city street, traveling in the car

Beginning

Celia says goodbye to friends and watches the changing landscape.

Middle

Celia arrives in the country very upset and convinced that living there will be boring. She sets out with her violin to explore on her own.

End

Celia meets Jason, who is playing jazz on his saxophone. She takes out her violin and plays along. She becomes optimistic that life in the country will not be so bad. , Jason , country

• Say: Now it’s your turn. Have students look at the Your Turn prompt and help them complete the task: Reread the rest of “Cow Music.” Identify additional characters, settings, and key plot events to add to the graphic organizer on page 51. Include how Celia feels about her new home.

• If time allows, invite students to share what they included to ensure all students are able to identify the information for the middle and end of the story.

• Have students turn to page 52.

• Say: You will be responding to the reading. When we see questions about something we read, we need to be able to provide text evidence. This is the information from the text that helps us answer a question.

• Read aloud the questions and the discussion starters for each of the questions.

• Guide students to work with a partner to answer the questions orally using the discussion starters.

• Have students find text evidence to support their answers. Have them write the page number(s) where the answers can be found.

• 1. How does Celia feel about having to move to the country? (Celia will miss her friends and the excitement of her life in the city. I read that Celia thinks life in the country will be boring.)

• 2. What gives Celia a glimmer of hope that country life might be all right? (In the city, Celia could not go out alone. In the country, Celia can explore by herself.)

• 3. How does Celia feel about the country after she meets Jason? (When Celia hears someone playing sax in a cornfield, she is surprised but starts to play along on her violin. I read that, after meeting Jason, Celia begins to have a more positive perspective about living in the country.)

RESPOND TO READING

Discuss Work with a partner. Use the discussion starters to answer the questions about “Cow Music.” Write the page numbers.

uestions Text E vidence D iscussion S tarte rs

How does Celia feel about having to move to the country? Celia will miss . . . I read that Celia thinks life in the country will . . .

What gives Celia a glimmer of hope that country life might be all right?

How does Celia feel about the country after she meets Jason?

In the city, Celia could not . . . In the country, Celia can . . .

Page(s):

When Celia hears . . . I read that, after meeting Jason, Celia begins to . . .

Page(s):

Page(s):

• After students attempted the activity, call on students to share their answers.

• Ask: How do we know what the answers are? (Students should be able to say something about looking back in the text to find the information.)

Discuss Discuss the prompt below. Think about how the author lets you know what the main character is thinking and feeling. Use your notes and graphic organizer.

How does the author show how Celia’s feelings about living in the country change?

At the beginning of the story, the author uses the subtitle end, she . . . “Farewell to Me” to make it clear that Celia sees the move as an ending. She’s being forced to leave her friends and neighborhood for a place that’s “miles away in the middle of nowhere.” The author then uses imagery—“endless, boring trees and fields of corn” and a “blur of green and brown”—to describe how Celia sees the country.

Readers hear Celia’s thoughts firsthand, so it’s clear how negative her feelings are. As the plot develops, the author begins to describe a few ways that living in the country might not be so bad for Celia. The chance to explore and have more freedom gives her a “glimmer of hope” that things will be okay. She becomes even more hopeful when she meets Jason, her saxophone-playing neighbor. After the two improvise a duet together, Celia uses words such as “cheerful,” “majestic,” and “brilliant blue sky” to describe the area. Through this positive imagery, the author shows that Celia’s perception of country life has begun to change as she recognizes the country’s beauty.

Quick Tip

Use these sentence starters to discuss the text and to organize ideas.

• Celia’s dialogue shows . . .

• The author uses imagery to . . .

• At the beginning of the story, Celia . . . By the end, she . . .

Grammar Connections

As you cite text evidence, try using dashes or parentheses to set off examples. Doing so adds variety to your sentences. The sarcastic tone of Celia’s words—“I couldn’t be happier”—shows how the move has affected her.

• Have students look at page 53.

• Before reading the prompt with students, say: You will be responding to the reading by answering a specific question based on the notes you took.

• Read the Discuss prompt together: Discuss the prompt below. Think about how the author lets you know what the main character is thinking and feeling.

Use your notes and graphic organizer.

• Read the Quick Tip and Grammar Connections boxes together with students.

• Tell students to answer the questions independently and that there will be time to share with the whole class later.

•

• Say: We will be looking at context clues. Remember from previous units that context clues are words and phrases within a text that can help you figure out the meaning of unfamiliar or multiple-meaning words.

• Explain that context clues might be within the same sentence as the unfamiliar word. They may also be found in surrounding sentences.

Model FIND TEXT EVIDENCE

• Say: Look at the Find Text Evidence section. It gives us more information about how to find the meaning of an unfamiliar word means by looking at context clues.

• Say: I see the word knack on page 45. I am unsure what this word means, so I will try to find clues in the nearby text to help me figure it out. I see that the phrase for reading my mind comes after the word in the sentence. “Reading” someone’s mind is not easy to do, so this helps me figure out that knack must mean a skill for doing something well.

Context Clues

When you read an unfamiliar or multiple-meaning word, carefully reread the sentence in which it appears. Look for context clues in the sentence to help you figure out the word’s meaning.

FIND TEXT EVIDENCE

I’m not sure what the word knack means on page 45 of “Cow Music.” I see that the phrase for reading my mind comes after it in the sentence. "Reading“ someone's mind is not easy to do, so this tells me that a knack must be a skill for doing something well.

“Don’t think of this as an ending,” Mom said, with her knack for reading my mind.

Your Turn Use context clues to figure out the meanings of the following words in “Cow Music.”

rickety, page 46

poorly made and likely to break

majestic, page 47

having a lot of beauty

•

Guided Practice Your Turn

• Say: Now it’s your turn. Have students look at the Your Turn prompt and help them complete the task: Use context clues to figure out the meanings of the following words in “Cow Music.”

Relevant Information

Relevant information is directly connected to the topic you are researching. As you research, you’ll likely find information that, while interesting, does not provide the best support for the specific ideas you want to cover. To gather useful and relevant information

• focus your topic by writing a question that clarifies the purpose of your research;

• list and use search terms that directly reflect your purpose;

• use multiple print and digital sources.

What is something else you can do to gather relevant information?

I could check a book’s table of contents or index for specific keywords related to my purpose.

Create an Advertisement With a partner or in a group, research a 19th century invention that people found useful. Then create an advertisement for the invention. Consider these questions:

• What was the invention? Who invented it and when?

• What did the invention do? What did people do before it was invented?

• How did the invention affect the people of the time period?

Discuss what print and digital sources you might use to gather relevant information. Be sure to add illustrations or photographs to your advertisement. You will be sharing your advertisement with your classmates.

The telephone provided the telegraph industry with more competition by creating a new form of communication.

•

• Tell students that when they research, they need to be sure their information is relevant. This means that the information is directly connected to the topic.

• Have students read through the information in the Relevant Information section, including the picture caption on the right side of the page. Then, ask them to respond to the question in the center of the page on the given lines.

•

Guided Practice Create an Advertisement

• Say: Now it’s your turn. Have students look at the Create an Advertisement prompt and help them begin their initial work with their partner.

• Students will need to select a 19th century invention that people thought was useful.

• Remind students to read the prompt carefully and make sure they include all the listed items on their ads.

• Play track 09. Students will first listen and then repeat the sentences.

• Use the Define/Example/Ask routine to introduce each vocabulary word.

• Ask students to read the bolded vocabulary words with you: emblazoned, frantic, gallery, graffiti, loosen up, portfolios, and reverie.

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: What is emblazoned on soccer players’ shirts? (The player’s number is emblazoned on soccer players’ shirts.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for frantic (People act in a frantic way when they are searching for lost items.), gallery (I can find a gallery in an art museum.), and graffiti (People might want to make graffiti to express their creativity.).

• Invite one or two students to share their responses.

VOCABULARY

emblazoned v. decorated with words, symbols, or designs so as to be easily seen

Signs emblazoned with “Sale!” and “Great Deals!” were seen all around the store. What is emblazoned on soccer players’ shirts? frantic adj. done quickly and with a lot of activity, but not very organized

The children rushed about the playground in frantic activity during recess. When do people act in a frantic way?

gallery n. a room or building for showing pieces of art

This gallery displays famous works of art from around the world. Where can you find a gallery ?

graffiti n. art or writing made in a public place

Archaeologists have found graffiti dating back thousands of years. Why might people want to make graffiti ?

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

loosen up phr. v. become more relaxed

Let's move our shoulders to loosen up a little before we start. When does it help to loosen yourself up ? portfolios n. collections of art that show artists’ work

I have separate portfolios for my photographs and my paintings. Find different types of portfolios on the Internet and describe what they are.

reverie n. a state of imagining pleasant things

I sat on the porch in reverie watching the sun set. What do you like to think about in a reverie ?

COLLABORATE Your Turn Pick three words. Write three questions for your partner to answer.

• Have students think about and answer the question in blue: When does it help to loosen yourself up? (It helps to loosen yourself up before running.)

• Say: Look at the next two words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for portfolios (I found someone’s graphic art portfolio with images that could be used in video games.) and reverie (In a reverie, I like to think about nice things about spending time with my family in the past.).

• Invite one or two students to share their responses.

• Say: Read the Your Turn prompt with me. Read: Pick three words. Write three questions for your partner to answer. (Answers will vary depending on the words that students pick and the questions they individually generated. Walk around the room to check students’ work. Questions should include the use of the vocabulary word.)

• Have students turn to page 58 and recall their previous discussion about the Essential Question: How do new experiences offer new perspectives?

• Have students look at the illustrations on pages 58-61 before reading the story.

• Ask: What do you see? Students should be able to talk about the illustrations they see on each page.

• Say: This is another Paired Read text. It is called “The Writing on the Wall.” We will listen to the audio first and then read together. When we read together, we will need to do some tasks.

• Play track 10 and have students follow along in their books as they listen to the story. Stop at the end of the story on page 61.

• Have students go back to page 58. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

PAIRED READ

FIND TEXT EVIDENCE

Read

Paragraph 1

Underline where the author has called home all his life. What does he spend a lot of time doing?

He spends hours just looking.

Paragraph 2

What drives the author to create art?

The beauty and drama of nature inspire him to make art.

Paragraph 3

Circle the duration of the art classes in New York.

Essential Question

How do new experiences offer new perspectives?

Read how two weeks in New York City affect one young artist.

The small town of Allen Crossing, Indiana, has been the place I’ve called home for all 14 years of my life. That’s where I spend hours just looking. Looking at how the wind makes the wild flowers of a meadow weave and sway to create a magical moving carpet of color. Looking at the way insects dart and dash among plants and blossoms in displays of frantic activity.

The beauty and drama of nature have always been what drives me to create art. I used to think that all true artists get inspiration from nature. Then I went to New York City and something happened that really made me rethink that idea.

COLLABORATE

Talk with a partner about special classes. What special classes would you like to take?

I applied to an art college in New York that was offering two-week courses to middle school students with portfolios that showed they were serious about art. To be honest, I applied mostly because I liked the idea of putting my portfolio up against the work of other young artists. I wanted to see if I could get in. When I found out I had been accepted, I was proud, but I didn’t really consider going. I didn’t think I’d like New York. My perception of the city was that it was loud and crowded and kind of unfriendly. I couldn’t imagine being creative in a bustling, concrete world.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about special classes. What special classes would you like to take? (I’d like to take a robotics class.

I think it’s really cool how a robot can be coded to do all kinds of great things. Learning those skills could really help me in the future.)

When my mother reminded me that the classes in New York would be taught by real, working artists, I felt a glimmer of excitement about going. And when she told me I could stay with my aunt and her family, who live in the city, it seemed sort of crazy not to go.

I arrived in early July. New York was just as noisy and teeming with people as I thought it would be. When my older cousin Ken and I took the train to the college for the first time, I had some serious doubts about whether I had made the right choice about coming. I was so used to the quiet countryside. There I could just let the sights inspire me by letting them seep gently into my awareness. In New York, nothing seeps gently. People pushed past us to squeeze through the doors of the subway cars. Everything had hard edges and moved at a supersonic pace. It all came at me so quickly that I felt I had no time to process it all.

Art classes were another story. Once I was able to start making art, I felt like myself again. Working

from memory, I made sketch after sketch of landscapes and other natural scenes. Each stroke of the brush or scratch of the pencil brought me closer to remembering why I had come. The teachers walked around the room and made comments on what each student was doing.

“Your images are very realistic and accurate,” one teacher told me.

“Why don’t we see what happens if you loosen them up a little? Try using brighter colors and bolder shapes and motions.” She told me I should go to the Museum of Modern Art to look at the paintings of artists like Vincent Van Gogh and Georges Seurat, so after class Ken and I went to the museum. I saw several paintings by Van Gogh. Using brash, flowing strokes of rich color, he painted forms found in nature in ways I had never seen. Seurat applied paint in a variety of multi-colored dots that allowed a viewer’s eye to blend the colors. When I tried applying some of these same techniques to my own art, I was amazed at the change.

PERSONAL NARRATIVE

FIND TEXT EVIDENCE

Read

Paragraph 1

Draw a box around who would teach the classes in New York.

Paragraph 2

Why was the author having doubts about coming to New York?

He worried that he wouldn’t be able to find inspiration in New York.

Paragraph 4

Underline where the author's teacher told him he should go. What did she ask him to do there?

She asked him to look at the paintings of artists like Vincent Van Gogh and Georges Seurat.

COLLABORATE

Talk with a partner about inspiration. Where do you find creative inspiration?

• Have students move to page 59. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about inspiration. Where do you find creative inspiration? (I find creative inspiration in my grandmother’s garden. She has lots of flowers and a big shade tree. I love sitting there peacefully letting ideas fill my head.)

• Have students turn to page 60 and read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about graffiti. What do you think about graffiti? (Graffiti is, for the most part, dirty and unappealing. However, there are some obviously talented artists who express themselves through this medium. So, beauty is in the eye of the beholder.)

PAIRED READ

FIND TEXT EVIDENCE

Paragraph 3

What did Ken think of the author's sketches?

He thought they were like graffiti.

Paragraph 8

Circle what the author saw in Myles’s backpack. Underline his opinion about those items.

Paragraph 10

What was special about the huge factory?

The factory was covered in graffiti.

My careful images gained a new movement.

Toward the end of my two weeks, I was going back to my aunt’s house with Ken, and my head was so full of the colors and shapes I was making in class that I took out my sketchbook to work on one of my drawings.

“Can I see that?” Ken asked. When I handed him the sketchbook, he began flipping through the pages. Finally he said, “Dude, these are great; they remind me of graffiti.”

I looked at my sketches and was confused because to me graffiti was not art, it was just messy, unreadable writing scrawled on walls—and you weren’t supposed to do it. In most places it was against the law.

“Hey!” A loud voice broke my reverie

I looked up to see three tall teenage boys staring at us across the aisle. I sat up straighter and tried to look like I wasn’t intimidated, but then Ken said, “Hey, Myles!” and I realized

that my cousin knew them. He introduced me to Myles, LeShawn, and Pete.

Myles had seen us looking through my sketchbook. “What’s in the book?” he asked, so I showed it to the three boys.

“Cool,” Myles said. “If you’re into art, you should come with us,” and with that he opened his backpack and I saw it was filled with cans of spray paint. As far as I was concerned, art was not made with spray paint.

I started to protest that I didn’t want to proceed when the train pulled into the subway station, Ken grabbed me, and we followed Myles, LeShawn, and Pete up the steps to the street.

Suddenly we turned the corner and standing in front of us was a huge factory that was completely coated with graffiti. The walls were covered with colors so bright they looked like neon; detailed portraits appeared next to cartoon-like creatures and words and calligraphy-like symbols were emblazoned in six-foot high

COLLABORATE

Talk with a partner about graffiti. What do you think about graffiti?

characters. Everywhere I looked there was something new to see.

“What is this place?” I muttered as I looked around to see if anyone was watching us.

“It’s a legal graffiti exhibit space,” Myles said, “like a big gallery for street art.” He explained that he and LeShawn and Pete had been selected to paint there in a contest their school had held before summer recess. They showed me sketches of what they planned to paint, and then I turned my gaze to the factory again. What I saw was art not unlike what I had been making. The big difference was, along with images from nature, the artists also drew images from city life. There was a subway train crammed with people rushing off to work and there were tall, shiny buildings stretching up into the sky. In every sketch, there was an energy that reminded me of that first subway ride, only it was a creative energy, not a panicky energy.

What I learned that summer in New York was indispensable to me, for now I know that inspiration is different for everyone. What drives one person crazy can be the thing that drives another person to create. I may not look at the city the way Myles, LeShawn, and Pete do, but they may not see nature the way I do. I respect the way the city’s energy inspires them. And now I use that energy wherever I am to create my own art.

Make Connections

How did this student’s trip to New York City change his perspective on art?

ESSENTIAL QUESTION

What kinds of experiences gave the characters you have read about a new perspective on their lives? TEXT TO TEXT

FIND TEXT EVIDENCE

Read

Paragraph 3

What had Myles, Pete, and LeShawn been selected to do?

They had been selected to paint on the graffiti factory for a school contest.

Paragraph 3

Circle the type of energy that the author saw in the sketches.

Paragraph 4

What did the author learn about inspiration?

He learned that inspiration is different for everyone.

• Have students move to page 61. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about energy. How does the energy of a place inspire you? (I like the peaceful energy of my grandmother’s garden. But I also like the chaotic energy of the local park. There are always people exercising, playing, or just hanging out.)

COLLABORATE

Talk with a partner about energy. How does the energy of a place inspire you?

• Say: To finish analyzing the text, we are going to make connections. Look at the questions in the Make Connections box.

• Allow students to work in pairs, as small groups, or independently to answer the first question. (He learned that art can be made in different ways.)

• Invite students to address the second question as small groups or in pairs. Students should be able to answer and discuss the question with their peers. (Celia’s move to the country and meeting Jason changed her view of country life. The student in New York learned new art styles from the city.)

• Have students turn to page 62.

• Before reading through the page, say: We will be looking at ways to answer questions about the text.

• Call on students to help read the information on the page. Have a student read the opening question.

• Say: Look at the Quick Tip box. It gives us more information about understanding characters in a story.

• Read the Quick Tip box together.

Talk About It

• Invite another student to read the Talk About It section.

• Have students talk with their partners about how the narrator feels about inspiration. (Students should be able to talk about how the young artist’s ideas about inspiration changed over time.)

Text Evidence

• Invite another student to read the Cite Text Evidence section.

• Guide students to use text evidence to add information to the graphic organizer.

PAIRED READ Reread

How does the author show a change in the narrator from the beginning to the end of the selection?

COLLABORATE

Talk About It Reread pages 58 and 61. With a partner, discuss how the narrator feels about inspiration.

Cite Text Evidence Compare and contrast the narrator’s feelings from the beginning to the end of the selection. Write text evidence in the chart.

Beginning End

“That’s where I spend hours just looking. Looking at how the wind makes the wild flowers of a meadow weave and sway to create a magical moving carpet of color.”

“The beauty and drama of nature have always been what drives me to create art.”

“In every sketch, there was an energy that reminded me of that first subway ride, only it was a creative energy, not a panicky energy.”

Quick Tip

Thinking about how a character resolves his or her conflict can help you understand how the character has changed. What lesson does the character learn from the conflict? What might the character do now that he or she was not likely to do at the beginning of the story?

Write The author shows how the narrator changes by

“What I learned that summer in New York was indispensable to me, for now I know that inspiration is different for everyone.” comparing and contrasting his ideas and feelings about inspiration before he goes to New York City and after he has met artists in the city and experienced the things that inspire those artists.

•

• Students should refer to the notes on the graphic organizer as they respond to the writing prompt at the bottom of the page. When students have finished writing, have them share their responses.

• Say: Now, using the information you put into the graphic organizer, complete the writing activity: The author shows how the narrator changes by…

(Show What You Learned)

Cite

Imagery

Writers use imagery when they describe ideas, actions, people, or things with words and phrases that create mental images in a reader’s mind. These words and phrases often appeal to a reader’s senses, making it easier for the reader to visualize the scene. Imagery can also affect mood, or the feeling the writing creates.

FIND TEXT EVIDENCE

In “The Writing on the Wall” on page 58, the imagery in the first paragraph helps the author convey the wind’s effect on the flowers. The vivid verbs weave and sway help readers visualize the flowers moving gently back and forth in the wind and better understand why the author calls the scene a “magical moving carpet of color.”

Looking at how the wind makes the wild flowers of a meadow weave and sway to create a magical moving carpet of color.

COLLABORATE

Your Turn Reread the rest of pages 58 and 59.

• How does the author use imagery to help you visualize the city?

Phrases such as “bustling, concrete world,” “noisy and teeming with people,” and “supersonic pace” help me imagine people moving quickly and anxiously in New York City.

• How does the author’s use of imagery show the contrast between the city and the country?

The words show that the narrator sees the country as bright, colorful, and peaceful. In contrast, the city is busy and less friendly.

Readers to Writers

To add imagery to your own writing, think about what you want your readers to see, hear, feel, smell, or taste. Choose words that evoke these images. Also think about the mood of your writing. If you want a sad, excited, happy, or anxious mood, choose imagery that helps to set and maintain that mood.

•

• Have students turn to page 63.

• Before reading through the page, say: We will be looking at how writers incorporate imagery to create mental images in a reader’s mind.

• Read the Readers to Writers box together.

• Show students how to identify imagery in the text.

• Say: In “The Writing on the Wall,” the author uses imagery to show the wind’s effect on the flowers. Vivid verbs, such as weave and sway help us to really get a picture in our heads of the flowers moving gently back and forth. These descriptions help me see more through the mind of the writer. It helps me understand something about them.

•

• Say: Read the Your Turn prompt with me. Guide students to reread the rest of pages 58 and 59 and then answer the questions on the given lines.

Model FIND TEXT EVIDENCE

• Have students turn to page 64.

• Before reading the prompts with students, say: You will be thinking about all the information you’ve read and connecting it with ideas from a photograph.

• Call on students to help read the information on the page. Have a student read the opening question.

Talk About It

• Invite another student to read the Talk About It section.

• Ask: If we look at the photograph and read the caption, what information can we get?

• Invite students to share what they think and how they would answer the question. (Students should be able to discuss how the girl uses her art to express her perspective.)

Evidence

• Invite another student to read the Cite Text Evidence section.

• Guide students to consider how creating art can show others how you feel. Ask students to circle clues in the photograph and caption that indicate how the art might be used to show emotion.

• Read the Quick Tip box together with students.

MAKE CONNECTIONS

Text Connections

How is the sculptor in the photograph below using art to share a perspective in the same way that the characters do in the selections you have read?

COLLABORATE

Talk About It Talk with a partner about the photograph and caption. Discuss how the girl is using art to express a perspective.

Cite Text Evidence How does creating art show others how you feel? Circle clues in the photograph and caption that indicate how art can be a medium for sharing feelings and perspectives.

Write The sculptor and the characters in the stories use their art

to show their feelings and thoughts. The sculptor makes a sculpture of someone she admires. In “Cow Music,” Celia uses her violin to express her changing feelings about moving to the country. In “The Writing on the Wall,” the narrator uses art to show how the city and nature inspire him.

This middle school student is using a water-based clay to create a sculpture. The assignment is to think of someone she admires and create a piece of art that represents how she feels.

Writers and sculptors express a perspective through their art. Compare the sculptor's work with the work of the characters in the selections you have read. What is the perspective or feeling each is conveying?

•

Write (Show What You Learned)

• Have students write a response synthesizing the knowledge they have built about how people share their feelings and perspectives. When students have finished writing, have them share their responses.

• Say: For the writing section, you will write about how the selections you have read, as well as the photograph, help you understand something about sharing feelings and perspectives. Take some time to consider everything we have read and talked about before you begin writing.

Quick Tip

Cite Text

•

Present Your Work

Discuss how you will present your advertisement for a 19th century invention, including any illustrations or photographs you will feature. Use the Presenting Checklist as you practice your presentation. Discuss the sentence starters below and write your answers.

An interesting fact that I learned about the invention is

Quick Tip

The purpose of an advertisement is to persuade readers to take a certain action. As part of your presentation, make sure to point out qualities of the invention that would be likely to attract buyers.

•

• Have students turn to page 65.

I would like to know more about

Presenting Checklist

Rehearse your presentation, making sure to present details in a clear, logical order. Speak slowly, clearly, and with an appropriate volume. Use an excited expression and convincing tone to “sell” your 19th century invention to your audience.

Make eye contact with your audience. Listen to comments and questions from the audience and respond politely without interrupting.

During the Presentation

• Tell students to write down any questions they have while observing others’ presentations. Explain that doing so will help them remember their questions after each speaker has finished.

• Following each presentation, guide the discussion by asking students to paraphrase or summarize the key ideas from the presentation.

• Guide students to use the provided sentence starters to help focus their discussion and responses.

• Tell students that they will need to prepare in order to best present their advertisements. Say: Last time, you had the chance to gather information about a 19th century invention and create an advertisement for it. Now you will have the time to present the ads that you created. Read together the directions at the top of the page.

• Remind students that they will be audience members for other students’ presentations and that as observers and listeners, they will play an important role in the presentations.

• Next, read the Quick Tip box with students and discuss how to present the most attractive qualities of the invention that would help persuade someone to buy it.

• Discuss each item on the Presenting Checklist and give students time to practice their presentations before having them share their ads either in front of the class or from their seats.

•

Explain

• Read the Key Concept and Essential Question to students.

• Have students repeat after or choral read the Essential Question a second time. Ask students to share their initial ideas about the Essential Question.

• Tell students that scientists place life forms into groups based on similar characteristics. This is called classification.

Model

• Look at the photograph with students and help them talk about the frog. Focus on how it is similar to other frogs that students have seen.

• Ask: Where does the red-eyed tree frog live in the rainforest? (The redeyed tree frog lives in the canopy layer where there are many leaves.) Why is the canopy layer a good home for the red-eyed tree frog? (The canopy layer is a good home for the red-eyed tree frog because it has lots of leaves and branches to hide in and find food.)

• Give students time to discuss with their partners. Move around the classroom to check for understanding.

Question

How do life forms vary in different environments?

Scientists use a classification system based on the environmental layers in a rainforest to talk about the plant and animal species living there. The top, or emergent, layer hosts primates and one-third of the world’s bird species. The shady canopy layer has the most species, including frogs, some birds, and large cats. Reptiles, bats, owls, and broad-leafed plants thrive in the mostly dark understory. Insects, amphibians, and certain large mammals live on the dark, moist forest floor.

Look at the photograph and discuss with a partner about the different rainforest environments. Why might animals live in a particular layer? Write your ideas in the web.

Top Layer

Primates and birds live here to find sunlight, fruit, and insects.

Canopy Layer

Frogs, birds, and large cats stay in the canopy for leaves, branches, and hiding places.

Understory Layer

Reptiles, bats, owls, and plants prefer the understory because it is shady and cool.

Environments

Forest Floor

Insects, amphibians, and large mammals thrive on the forest floor because it is dark and moist.

•

• Have students read the Collaborate prompt: Scientists use a classification system based on the environmental layers in a rainforest to talk about the plant and animal species living there. The top, or emergent, layer hosts primates and one-third of the world’s bird species. The shady canopy layer has the most species, including frogs, some birds, and large cats. Reptiles, bats, owls, and broad-leafed plants thrive in the mostly dark understory. Insects, amphibians, and certain large mammals in on the dark, moist forest floor.

• Say: Look at the photograph and talk with a partner about the different rainforest environments. Think about why animals live in a particular layer.

• Have students write their ideas in the web before asking them to share their ideas with the class.

• Play track 12. Students will first listen and then repeat the sentences.

• Use the Define/Example/Ask routine to introduce each vocabulary word.

• Ask students to read the bolded vocabulary words with you: accidentally, classification, compartment, dwellers, engulfs, envelops, flanked, and glow.

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: What is something you have done accidentally? (I accidentally dropped my phone in the water.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for classification (I think the classification of animals is a difficult job because there are so many species.), compartment (You can find a compartment in a desk drawer.), and dwellers (Alligators are swamp dwellers.).

• Invite one or two students to share their responses.

VOCABULARY

accidentally adv. in a way that is not planned

I accidentally knocked over a clothing rack, and it crashed onto the floor. What is something you have done accidentally ?

classification n. the organization of plants or animals according to their characteristics

The classification of the hippopotamus shows it is more closely related to whales than elephants. Do you think the classification of animals is an easy or difficult job?

compartment n. a small space that can be used for storage

Please put your bags in the overhead compartment

Where else can you find a compartment ?

dwellers n. people or animals that live in a particular place

Deep sea dwellers must be able to handle the pressure of living under so much water. What kinds of animals are swamp dwellers ? Unit 1 • Expository Text 68

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

engulfs v. surrounds completely; covers

Fog engulfs the town, making it hard to see.

How do you feel when darkness engulfs your bedroom? envelops v. covers or wraps someone or something completely

The cold water envelops her as she dives into the frozen lake.

What feeling do you think envelops people in difficult economic times?

flanked v. surrounded on both the left and right

The criminal was flanked by police officers as he was brought into the jail.

What kind of person might be flanked by security guards when they go out?

• Have students think about and answer the question in blue: How do you feel when darkness engulfs your bedroom? (I feel scared when darkness engulfs my bedroom.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for envelops (A feeling of fear envelops people in difficult economic times.), flanked (A famous actor might be flanked by security guards when they go out.), and glow (My bedside lamp has a glow.).

• Invite one or two students to share their responses.

glow n. a soft light

The glow of the nightlight makes my little brother feel safe when he sleeps.

What things that you own or use have a glow?

• Continue to introduce each vocabulary word using the Define/Example/Ask routine.

• Ask students to read the bolded vocabulary words with you: maneuvering, obscure, pigment, rare, stillness, undisturbed, and vulnerable

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: What would you say to people around you when maneuvering through a crowd? (I would say, “Excuse me, please” when maneuvering through a crowd.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for obscure (I would find a different spot to watch from.), pigment (If I were an animal, I would want to have green pigment to blend in with the plants.), and rare (I saw a rare flower blooming in the park recently.)

• Invite one or two students to share their responses.

VOCABULARY

maneuvering v. moving or steering, especially through a difficult course

The captain is carefully maneuvering the ship through the icebergs.

What would you say to people around you when maneuvering through a crowd?

obscure v. block out; make difficult to see

High-rise buildings obscure the sky, making it hard to see the stars.

What would you do if somebody were to obscure your view of the TV?

pigment n. the natural material that makes plants or animals a certain color

Mice often have brown, black, or white pigment

If you were an animal, what color pigment would you want to have?

rare adj. hard to find; not seen very often

This bird is very rare in our country, but it's common further south.

What is something rare that you have seen recently? Unit 1 • Expository Text 70

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

stillness n. the state of being quiet and without movement

I enjoyed the sense of stillness as I walked through the soft snow. When do you experience a sense of stillness ? undisturbed adj. not moved or touched by anything

Luckily, my closet was left undisturbed, and nothing inside was taken.

Are you always able to sleep undisturbed ?

vulnerable adj. weak and easily hurt

A warehouse that is full of paper is vulnerable to fire. What is a snowman vulnerable to?

COLLABORATE Your Turn Pick three words. Write three questions for your partner to answer.

• Have students think about and answer the question in blue: When do you experience a sense of stillness? (I experience a sense of stillness when everyone else is asleep.)

• Say: Look at the next two words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for undisturbed (Yes, I sleep undisturbed when I am very tired.) and vulnerable (A snowman is vulnerable to warm temperatures.).

• Invite one or two students to share their responses.

• Say: Read the Your Turn prompt with me. Read: Pick three words. Write three questions for your partner to answer. (Answers will vary depending on the words that students pick and the questions they individually generated. Walk around the room to check students’ work. Questions should include the use of the vocabulary word.)

SHARED READ

TAKE NOTES

You can set a purpose for reading by asking questions. Look at the title, diagram, and photographs. Think about what you already know and what you want to know about the topic. Then write a question here.

As you read, take note of Interesting Words

Key Details

Page 72

Build Background

• Have students share their experiences of exploring new environments. Ask: Have you ever explored a new place? What did you discover?

• Have them describe using “I explored ___ and discovered ___.”

• Read the Essential Question: How do life forms vary in different environments?

• Explain the meaning of the Essential Question, including the vocabulary in the question. Say: Life forms are living things, such as plants and animals. Environments include the air, land, and water in which plants and animals live. The Essential Question asks how living things differ in various environments. Each environment offers unique conditions that affect the life forms living there. For example, some animals might thrive in a hot, dry desert, while others are suited to cold, snowy regions.

• Model an answer. Say: Animal life varies in the four different environments of the rainforest. Primates and one-third of the world’s bird species live in the sunny top layer. Other types of birds, frogs, and large cats live in the shady uppermost tree branches, or canopy. Reptiles, bats, and owls live in the dark understory below the canopy. Insects, amphibians, and some large mammals live at the bottom, on the dark, wet forest floor. Each layer supports different kinds of life forms, showing how diverse environments can be.

• Have students connect the Essential Question to their background knowledge. Say: Turn to a partner and describe the environment in which we live. What plants and animals have you noticed? Then, we’ll share our ideas with the class. Call on several pairs to share their discussions. Set Purpose for Reading

• Say: Today we will read “The Secret World of Caves” and focus on understanding how different animals adapt to life in a cave environment. As we read, think about the Essential Question: How do life forms vary in different environments?

Take Notes

• Have students look at the TAKE NOTES prompt on page 72.

• Guide them to write down their questions, interesting words, and key details from the text in the left column on page 72.

Previewing the Text

• Before students begin reading the story, have them look at the images and headings on pages 72-75.

• Ask them to share what they see on each page to activate their prior knowledge, engage their curiosity, and enhance their comprehension of the story.

• Have students go back to page 72.

• Ask: What environment is shown in the photographs? (The photographs show the inside of a cave.) Which part of a cave do you see in the background photograph? (I see the entrance of the cave.)

Listening Activity

• Play track 13 and have students follow along in their books until the end of page 75.

• After listening, invite them to share what they heard or ask questions.

• Reassure them that it’s okay if they don’t remember everything, as the story will be reviewed in detail during class.

During Reading

Interactive Question-Response Routine

• After each paragraph, ask questions to help students understand the meaning of the text.

• Explain difficult or unfamiliar concepts and words.

• Reinforce the meaning of new vocabulary.

• Ask students questions that require them to use the vocabulary.

• Reinforce weekly strategies and skills by modeling and asking questions.

• Use images and other text features to aid students’ comprehension.

• Use headings to help students predict what the sections will be about.

In the Mouth of the Cave

Stepping into a cave is like entering an entirely new world. The environment is suddenly cooler and damper. Though there is some light here, it is dimmer than the light outside. There is a sense of stillness and quiet. This outermost area is called the entrance zone. It is a hallway leading to the many secrets of life in a cave.

An animal that uses the entrance zone of a cave belongs to the classification known as trogloxenes. Creatures in this category may seek shelter in caves but don’t spend their whole life cycles in them. They also spend time on the surface. Some entrance zone organisms are called accidentals because they often find their way in accidentally. These cave guests stay for a while but not for long.

Bats are among the most common trogloxenes. Hanging upside down from a cave’s ceiling, they are protected and sleep undisturbed. Bats also hibernate this way during the coldest months. In warm months, bats search for food outside the cave.

Other species make use of the entrance zone for protection, too. Pack rats build nests using twigs and leaves from the outside. Their big eyes and long whiskers help in maneuvering through the dim light. Small gray birds called phoebes seek safety inside cave doorways. They make their nests in a compartment, or nook, in the cave walls. These small spaces hide the birds from animals that prey on them.

EXPOSITORY TEXT

FIND TEXT EVIDENCE

Read

Paragraph 1

Main Idea and Key Details

Circle the words that give details about the environment of the entrance zone. What is the main idea of the paragraph?

Stepping into a cave is like entering a different world that is cooler, dimmer, and quieter.

Paragraph 2 Reread

Underline the two types of animals that can be found in the entrance zone.

Diagram

Draw a box around each of the names of the three zones inside a cave.

Reread

Author's Craft

How does the inclusion of the diagram help you predict what you will read next?

Paragraph 1

Main Idea and Key Details

• Say: The main idea is what the paragraph is mostly about, and the key details are pieces of information that support the main idea. Let’s read the paragraph together and find the words that describe the environment of the entrance zone. Then, we’ll figure out the main idea.

• Read paragraph 1 together. Ask: How does the environment change when you step into a cave? (It becomes cooler and damper.) What is the light like in the entrance zone of the cave? (The light is dimmer than outside.) How does the entrance zone feel? (It feels still and quiet.)

• Read the Main Idea and Key Details prompts with the students and have them complete the tasks: Circle the words that give details about the environment of the entrance zone. What is the main idea of the paragraph? (Stepping into a cave is like entering a different world that is cooler, dimmer, and quieter.)

Paragraph 2

• Read paragraph 2 together. Ask: What is the classification name for animals that use the entrance zone of a cave? (trogloxenes) What do trogloxenes do? (They seek shelter in caves but don’t spend their whole life cycles in them and also spend time on the surface.) What are some entrance zone organisms called that find their way into caves accidentally? (They are called accidentals.)

• Read the Reread prompt with the students and have them complete the task: Underline the two types of animals that can be found in the entrance zone.

• Look at the diagram together. Ask: What is the first zone you enter in a cave called? (the entrance zone) How is the twilight zone different from the entrance zone? (The twilight zone has dim light and little plant life.) What are the features of the dark zone? (The dark zone has no light or plant life, and the temperature is a constant 56-58°F.)

• Read the Diagram prompt with the students and have them complete the task: Draw a box around each of the names of the three zones inside a cave.

Author's Craft

• Tell students that they will reread this page to analyze the techniques the author used in writing this selection.

• Ask: How does the diagram help you understand the different parts of the cave? (The diagram helps by showing the names and features of each zone, like how the entrance zone has some sunlight and plants.) Why is the entrance zone important in the story? (The entrance zone is important because it is where some animals live, and it leads to other parts of the cave.) How does the diagram make you curious about what comes next in the story? (The diagram makes me curious because it shows different zones, and I want to learn more about what lives in each zone and what they look like.)

• Read the Author’s Craft question with the students and have them answer it: How does the inclusion of the diagram help you predict what you will read next? (I can see from the diagram that there are three zones in a cave. We’ve read about one zone, so I can predict that we’ll read about the other two zones next.)

Reread Diagram

Reread

SHARED READ

FIND TEXT EVIDENCE

Read

Paragraph 2

Greek Roots

The name for animals that live in the twilight zone is derived from Greek roots. Circle the name of these animals. Underline the text that tells what this word means.

Caption

What does the spring cavefish live on?

The spring cavefish lives on microscopic organisms.

Paragraph 3

Main Idea and Key Details

Look for key details in this paragraph. Then, draw a box around the main idea.

Author's Craft

How does the author use descriptive language to help you visualize each of the zones inside a cave?

Twilight Time

Deeper inside a cave, the walls and ceiling obscure most of the light from outside. This shadowy area is known as the twilight zone. The light in this zone is so dim that everything appears to be bathed in a bluish glow. This part of a cave feels even damper and cooler than the entrance zone.

Animals that rely on the environment of the twilight zone are called troglophiles. Their eyesight is often poor, and they usually have less colorful bodies than animals living outside of caves. These creatures spend their entire life cycles inside moist caves, but many can also survive in similar habitats outside of caves. Animals commonly found living in the twilight zones of caves are centipedes, fish, beetles, earthworms, and spiders.

Totally in the Dark

Deeper still inside a cave, beyond the twilight zone, is the dark zone. Here passageways are flanked on either side by steep stone walls. There is no light at all. Darkness engulfs this place, and moist air envelops everything.

It is hard to believe that any animals could live their whole lives in total darkness. Yet many strange creatures live in the dark zones of caves. These animals, known as troglobites, include rare species of frogs, salamanders, spiders, worms, insects, and crabs. Cave biologists believe that these unusual creatures are distantly related to animals that once lived near caves. But they look only slightly similar to their surface relatives. Troglobites even need food that is unavailable outside of caves.

Some twilight zone animals live submerged under water. This spring cavefish lives on microscopic organisms. them

Reread

environment like in the dark zone? (There is no light at all, and the place is engulfed in darkness with moist air everywhere.)

Paragraph 2

Greek Roots

• Say: Let’s learn about how some animal names are derived from Greek roots. This will help us understand why these animals are named a certain way. We will read the paragraph together and find the name of the animals that live in the twilight zone. Then, we’ll look for the text that explains what this name means.

• Ask: What are animals that live in the twilight zone called? (They are called troglophiles.) What is special about the eyesight and bodies of troglophiles? (Their eyesight is often poor, and they usually have less colorful bodies.) Where do troglophiles spend their entire life cycles? (They spend their entire life cycles inside moist caves.)

• Read the Greek Roots prompts with the students and have them complete the tasks: The name for animals that live in the twilight zone is derived from Greek roots. Circle the name of these animals. Underline the text that tells what this word means.

Read Caption

• Read the caption together. Ask: Where do some twilight zone animals live? (Some twilight zone animals live submerged under water.)

• Read the Caption question with the students and have them complete the task: What does the spring cavefish live on? (The spring cavefish lives on microscopic organisms.)

Paragraph 3

Main Idea and Key Details

• Read paragraph 3 together. Ask: Where is the dark zone located in a cave? (The dark zone is deeper inside the cave, beyond the twilight zone.) What are the passageways in the dark zone like? (The passageways are flanked by steep stone walls.) What is the

• Read the Main Idea and Key Details prompts with the students and have them complete the tasks: Look for key details in this paragraph. (The key details are: “beyond the twilight zone,” “no light at all,” “darkness engulfs this place,” and “moist air envelops everything.“) Then, draw a box around the main idea.

Author's

Craft

• Ask: How does the author describe the twilight zone in the cave? (The author describes the twilight zone as a shadowy area with dim light that makes everything look bluish. It is damper and cooler than the entrance zone.) What words does the author use to describe the dark zone? (The author describes the dark zone as having no light at all, with darkness engulfing the place and moist air enveloping everything.) How does the author help you picture the animals in the twilight zone? (The author says the animals in the twilight zone, like centipedes and beetles, have poor eyesight and less colorful bodies.) How does the author help you imagine the animals in the dark zone? (The author describes the animals in the dark zone, like salamanders and spiders, as strange creatures adapted to live in total darkness with heightened senses of smell and touch.)

• Read the Author’s Craft question with the students and have them answer it: How does the author use descriptive language to help you visualize each of the zones inside a cave? (The author uses words like “shadowy,” “dim light,” and “bluish glow” to help me see the twilight zone. For the dark zone, the author uses “no light,” “darkness engulfs,” and “moist air envelops” to help me picture it. The descriptions of animals, like poor eyesight for twilight zone animals and heightened senses for dark zone animals, also help me imagine what it’s like inside each zone.)

Reread

This fish is sightless.

Troglobites are adapted to living with the absence of light. Most of them are completely sightless. So it is only logical that these unusual cave dwellers have heightened senses of smell and touch. For example, their bodies can detect the slightest vibrations. They can also sense changes in the air pressure around them. When something is moving nearby, these creatures can feel it. This special ability helps them catch food. It also helps them avoid becoming another animal’s meal.

Most troglobites have ghostly white skin. Some even have skin you can see through. They don’t need pigment in their skin to protect them from the sun’s rays. And they don’t need skin coloring to help them blend in with their surroundings for safety. These unusual adaptations mean that troglobites can never leave the dark zones of caves.

Scientists now know that cave animals are vulnerable to even minor changes in their environment. So their work includes protecting these least known and fascinating creatures.

Animals that visit the entrance zone seek shelter and safety, sleeping and hibernating or building nests there, safely away from predators outside. Animals living in the dim twilight zone are adapted to have poor eyesight and less colorful bodies. Animals living in the dark zone have strong senses of smell and touch to help them move and find food in total darkness.

This crayfish has see-through skin.

EXPOSITORY TEXT

FIND TEXT EVIDENCE

Read

Paragraph 1 Reread

Draw a box around the words that explain why most troglobites are completely sightless.

Greek Roots

All of the names for the types of cave creatures share the Greek root meaning “hole” or “cave.”

Write that root here.

troglo-

Headings

How do the headings help you visualize the progression deeper into the cave?

Make Connections

Talk about how different life forms are well suited to living in each of the three cave zones.

ESSENTIAL QUESTION

What other animals have you seen or learned about that live in unusual habitats?

TEXT TO SELF

I have learned about camels living in deserts. They have humps to store fat for energy and can go a long time without water. Their wide feet help them walk on sand.

The headings guide us through the journey from the slightly bright entrance, to the dim twilight zone, and then the totally dark part of the cave.

Summarize

Use the headings and your notes to write a summary about the different zones of a cave. Talk about how the animals change as you go deeper.

FIND TEXT EVIDENCE

Read

Paragraph 1

Reread

• Read paragraph 1 together. Ask: What are troglobites adapted to living without? (Troglobites are adapted to living without light.) Why do most troglobites not need sight? (They don’t need sight because there is no light in the caves where they live.) What senses do troglobites have instead of sight? (Troglobites have heightened senses of smell and touch.)

• Read the Reread prompt with the students and have them complete the task: Draw a box around the words that explain why most troglobites are completely sightless.

Greek Roots

• Ask: What are trogloxenes? (Trogloxenes use the entrance zone of a cave but also live on the surface.) What are troglophiles? (Troglophiles live in the twilight zone of a cave and can also live outside.) What are troglobites? (Troglobites live their entire lives in the dark zones of caves.) What do all these words have in common? (We can see that all these words are related to caves, and they have the same root “troglo-,” meaning “cave.”)

• Read the Greek Roots prompt with the students and have them complete the task: All of the names for the types of cave creatures share the Greek root meaning “hole” or “cave.” Write that root here. (troglo-)

Headings

• Let’s learn how headings help us visualize moving deeper into a cave. Headings give us clues about each section. Let’s reread and see how they help us picture the journey from the entrance to the darkest parts of the cave.

• Ask: What does “In the Mouth of the Cave” tell us? (It describes

the entrance zone with some light and animals like bats and pack rats.) What does “Twilight Time” suggest? (It suggests a darker, cooler zone with dim, bluish light.) What does “Totally in the Dark” indicate? (It indicates the deepest, darkest part of the cave with strange creatures.)

• Read the Headings question with the students and have them complete the task: How do the headings help you visualize the progression deeper into the cave? (The headings guide us through the journey from the slightly bright entrance, to the dim twilight zone, and then the totally dark part of the cave.)

Summarize

• After their first read, ask partners to orally summarize the selection using their notes.

• Allow students to work in pairs, small groups, or independently to complete this task. (In “The Secret World of Caves,” different zones of a cave support various animals. The entrance zone, or mouth of the cave, has some light and houses trogloxenes like bats and pack rats that live both inside and outside the cave. Deeper inside is the twilight zone, which is darker and cooler. It is home to troglophiles such as centipedes and beetles, which spend their entire lives in caves but can also live elsewhere. The deepest part, the dark zone, has no light and is inhabited by troglobites like salamanders and spiders, which are adapted to live only in the dark. My prediction about the diversity of cave animals was confirmed.)

Make Connections

• Invite students to address the Make Connections box as a small group or in pairs. Students should be able to answer and discuss both questions with their peers.

•

• Explain to students that if they are unsure of something in a text, especially when they encounter scientific information, they can always go back and reread to ensure they have a full understanding of the text.

Model FIND TEXT EVIDENCE

• Using page 73, model rereading for understanding information in an expository text.

• Say: It’s not quite clear why bats only live part of their lives in the entrance zone of a cave. I can reread the section “In the Mouth of the Cave” for clarity. I reread and learned that bats hibernate in caves “during the coldest months” and look for food outside caves in warmer months. From this, I understand that bats are spending more time inside the caves when the weather is cold and food is difficult to find.

Reread

Some informational texts include scientific information that may be difficult to understand the first time you read it. As you read “The Secret World of Caves,” you can pause and reread difficult sections to make certain you understand them.

FIND TEXT EVIDENCE

It may not be clear to you why bats live only part of their lives in the entrance zone of a cave. Reread the section “In the Mouth of the Cave” on page 73 of “The Secret World of Caves.”

Page 73

Bats are among the most common trogloxenes. Hanging upside down from a cave’s ceiling, they are protected and sleep undisturbed. Bats also hibernate this way during the coldest months. In warm months, bats search for food outside the cave.

Other species make use of the entrance zone for protection, too. Pack rats build nests using twigs and leaves from the outside. Their big eyes and long whiskers help in maneuvering through the dim light. Small gray birds called phoebes seek safety inside cave doorways.

I read that bats hibernate in caves “during the coldest months” and search for food outside caves in warm months. From this, I can infer that bats spend more time in caves when the weather is cold and food is hard to find.

Your Turn Why is accidental a good name for some entrance zone creatures? Reread “In the Mouth of the Cave” on page 73 to answer the question. As you read, remember to use the strategy Reread.

•

Guided Practice Your Turn

• Say: Now it’s your turn.

• Have students look at the Your Turn prompt and help them complete the task: Why is accidental a good name for some entrance zone creatures? Reread “In the Mouth of the Cave” on page 73 to answer the question. As you read, remember to use the strategy Reread. (Accidental is a good name for some entrance zone creatures because they often find their way into the cave by accident. They stay in the cave for a short time before leaving.)

Headings, Photographs, Captions, and Diagrams

“The Secret World of Caves” is an expository text. It explains what life is like in underground caves using factual information and visual images.

FIND TEXT EVIDENCE

“The Secret World of Caves” explains how creatures live in or use caves. The headings tell me what each section is about. The photographs with captions show me what caves and cave creatures look like. The diagram helps me understand the different cave zones.

Headings

Headings identify the topic of each section of text. Photographs and Captions

Photographs illustrate information in the text. Captions explain what is shown in the photographs. Diagrams

Labeled diagrams show a visual representation of ideas.

Your Turn Find and list three text features in “The Secret World of Caves.” Tell what you learned from each feature.

• • Explain the characteristics of an expository text. Expository texts explain something using factual information and visual images.

• Point out that an expository text may include an assortment of text features to help readers understand the information.

Model FIND TEXT EVIDENCE

• Model identifying the characteristics of an expository text in “The Secret World of Caves.” Use page 73 to discuss the text features.

• Say: The author included headings, photographs with captions, and diagrams to help us understand the information in the text.

• • Say: Now it’s your turn.

Guided Practice Your Turn

• Have students look at the Your Turn prompt and help them complete the task: Find and list three text features in “The Secret World of Caves.” Tell what you learned from each feature. (The headings tell me what each section is about. The caption about the spring cavefish tells me it lives underwater and eats microscopic organisms. The diagram helps me understand how the entrance zone, twilight zone, and dark zone are different from each other and how creatures adapt to these areas.)

•

• Tell students that when writing, an author doesn’t say the main idea directly. They include key supporting details to help readers to identify the main idea.

Model FIND TEXT EVIDENCE

• Model how to identify the main ideas and key details from the section “Twilight Time.”

• Say: As I reread this section, I look for important details about the twilight zone of the cave. By figuring out what the details have in common, I am able to figure out the main idea.

Main Idea and Key Details

The main idea is the most important point an author makes about a topic. When the main idea is not stated directly, use the key supporting details to help you identify it.

FIND TEXT EVIDENCE

When I reread the section “Twilight Time” on page 74 of “The Secret World of Caves,” I will look for important details about the twilight zone of a cave. Then I can think about what the details have in common to identify the main idea.

Main Idea

A variety of species rely on the twilight zone’s special environment.

Detail

The twilight zone is darker and damper than the entrance zone.

Detail

Twilight zone animals spend their whole lives in caves, but many could live outside, too.

Detail

Spiders, beetles, centipedes, fish, and worms live in the twilight zone.

COLLABORATE

Your Turn Reread the section “Totally in the Dark.” Identify the key details and list them in the graphic organizer. Use the details to determine the main idea of the section.

Troglobites have special adaptations to live in total darkness.

The dark zone is completely dark with no light and moist air.

•

• Say: Now it’s your turn. Have students look at the Your Turn prompt and help them complete the task: Reread the section “Totally in the Dark.” Identify the key details and list them in the graphic organizer. Use the details to determine the main idea of the section.

• Ask students who finish early, or all students if time allows, to practice identifying the main idea and details for other sections of the selection.

Troglobites have no eyes and use senses of smell and touch to survive.

They have pale or see-through skin because they don’t need protection from sunlight.

• Have students turn to page 80.

• Say: You will be responding to the reading. When we see questions about something we read, we need to be able to provide text evidence. This is the information from the text that helps us answer a question.

• Read aloud the questions and the discussion starters for each of the questions.

• Guide students to work with a partner to answer the questions orally using the discussion starters.

• Have students find text evidence to support their answers. Have them write the page number(s) where the answers can be found.

• 1. How do animals use the entrance zone of a cave? (Animals use it for shelter. I read that bats hang from the ceiling to sleep and hibernate; pack rats and phoebes build nests.)

• 2. How are animals in the twilight zone of a cave different from animals in the entrance zone? (Twilight zone animals have poorer eyesight and less colorful bodies. They spend their entire lives in caves; entrance zone animals move in and out.)

• 3. How are animals in the dark zone different from animals in other parts of the cave? (Dark zone animals must be able to survive in total darkness. Most are sightless but have other powerful senses to help them move around.)

RESPOND TO READING

Discuss Work with a partner. Use the discussion starters to answer the questions about “The Secret World of Caves.” Write the page numbers.

Text E vidence

How do animals use the entrance zone of a cave?

How are animals in the twilight zone of a cave different from animals in the entrance zone?

Animals use the entrance zone of a cave to . . .

I know this because I read . . .

Animals in the entrance zone . . .

Animals in the twilight zone . . .

Another way that animals in the twilight zone are different is . . .

Page(s):

Page(s):

How are animals in the dark zone different from animals in other parts of the cave?

Animals in the dark zone . . .

Animals in the dark zone are different from other animals because . . . Page(s):

• After students attempted the activity, call on students to share their answers.

• Ask: How do we know what the answers are? (Students should be able to say something about looking back in the text to find the information.)

Discuss Discuss the prompt below. Think about how the author describes the different zones of the cave and the animals that live there. Use your notes and graphic organizer.

How does the author show that life in caves changes as the cave’s environment grows more extreme?

The author describes the different zones of the cave as if the reader were taking a trip inside of one. Each environment is described first, then the animals that inhabit each zone are described. Animals in the entrance zone would appear familiar to us, while animals in the deeper portions of the cave would appear increasingly strange.

Quick Tip

Use these sentence starters to discuss the text and organize your ideas.

• The author explains that . . .

• The author provides details about . . .

• By the end, the author makes it clear that . . .

Grammar Connections

When writing your response, use the active voice rather than the passive voice. When you use the active voice, the subject of the sentence performs the action of the verb on the object. In the passive voice, the object acts as the subject of the sentence. The passive voice must be used if you don't know who is responsible for the action. If you do, however, the active voice makes for a more engaging sentence.

• Have students look at page 81.

• Before reading the prompt with students, say: You will be responding to the reading by answering a specific question based on the notes you took.

• Read the Discuss prompt together: Discuss the prompt below. Think about how the author describes the different zones of the cave and the animals that live there. Use your notes and graphic organizer.

• Read the Quick Tip and Grammar Connections boxes together with students.

• Tell students to answer the questions independently and that there will be time to share with the whole class later.

• • Say: We will be looking at Greek roots. Remember from previous units that Greek roots are parts of words that change the meaning of the whole word. Explain that looking for Greek roots in a word can help them find the meaning of the whole word.

Model

FIND TEXT EVIDENCE

• Say: Look at the Find Text Evidence section. It gives us more information about how to find the meaning of a phrase by considering Greek roots.

• Say: I see the phrase entrance zone when I read on page 73. I already know that the root zon- means “area” or “section.” This helps me understand that an entrance zone is the section or area where you enter.

Greek Roots

An unfamiliar word in a scientific text may contain a Greek root you know. Use the meaning of the root to help you define the word. Some common Greek roots include cycl- (“circular, wheel”), log(“word, study), and scop- (“look, examine”).

FIND TEXT EVIDENCE

I see the phrase entrance zone on page 73 of “The Secret World of Caves.” If I know the root zonmeans “area” or “section,” I can figure out that an entrance zone is the section where you enter.

Your Turn Use the Greek roots above and context clues to define these words from “The Secret World of Caves.” life cycles, pages 73 and 74 microscopic, page 74, caption logical, page 75

It means the different stages an animal goes through in its life. It describes something so small you need a microscope to see it. It means something that makes sense.

•

Guided Practice Your Turn

• Say: Now it’s your turn. Have students look at the Your Turn prompt and help them complete the task: Use the Greek roots above and context clues to define these words from “The Secret World of Caves.”

This outermost area is called the entrance zone. It is a hallway leading to the many secrets of life in a cave.

Relevant Information

When doing research, you look for information that is appropriate for your topic. To help you identify and find relevant information:

• Write a main idea question or statement for your project to help you focus only on information connected to your topic.

• Enter keywords related to your topic in a search engine. Think of another way you could use to find relevant information.

I could visit our national parks connected to caves and speak with the rangers there.

Create a Promotional Map Work with a group to develop a plan to research and create a map that promotes a national park with caves to encourage people to visit. Your map can be drawn on paper or digitally created. Include features such as

• insets, or small maps or pictures on or next to your larger map, to show places in the park in more detail

• symbols for attractions, roads, trails, and other places of interest to visitors

• a legend, or key, to identify symbols

With your group, develop a research plan to find relevant information from reliable sources such as the US National Park Service website. After you complete your map, you will share your work with the class.

Tech Tip

There are several mapmaking programs available if you wish to make your map digitally. Ask your teacher to help you find such a program. The National Park Service website also includes different kinds of maps depicting park roads, trails, and attractions.

•

• Tell students that they should focus only on the relevant information related to their topic as they conduct research.

• Say: Before you begin researching your topic, be sure you have a main idea question or statement in mind. This can help you focus your efforts.

• Remind students that as they search, they should use keywords related to their topics. This will also help keep them on track.

• Have students respond to the prompt at the end of this section and write their ideas on the lines given.

•

Guided Practice Create a Promotional Map

• Say: Now it’s your turn. Have students look at the Create a Promotional Map prompt and help them begin their initial work with their partner.

• Students will need to choose a national park that has caves and create a map that promotes it.

• Remind students to read the prompt carefully and make sure they include all the listed items on their maps.

• Read the Tech Tip box together with students.

• Play track 14. Students will first listen and then repeat the sentences.

• Use the Define/Example/Ask routine to introduce each vocabulary word.

• Ask students to read the bolded vocabulary words with you: appealing, ecosystems, exploration, fragile, generate, hostile, and withstand.

• Have students take turns reading the sample sentence for each of the words as well as the definitions.

• Have students think about and answer the question in blue: What special class would be appealing to you? (A special class on astronomy would be appealing to me.)

• Say: Look at the next three words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for ecosystems (Near my home, there is a river ecosystem.), exploration (I would feel nervous about the extreme cold on an exploration of Antarctica.), and fragile (I own a fragile glass vase.).

• Invite one or two students to share their responses.

VOCABULARY

appealing adj. attractive or interesting

This class on salsa dancing looks appealing to me. What special class would be appealing to you?

ecosystems n. environments that are organized to support life

The ecosystems of the desert and the wetlands are very different. What ecosystems can you find close to your home?

exploration n. the act of traveling through a place to learn more about it

The scientists must be very careful during their exploration of the glacier. How would you feel to go on an exploration of Antarctica?

fragile adj. easily broken or damaged

Please be careful when you handle fragile items. What is something fragile that you own?

VOCABULARY ROUTINE

1. Define the word in simple, child-friendly language.

2. Provide an example of the word in a meaningful sentence, relevant to children’s lives.

3. Ask a question that requires children to apply the word. They can give an example or explanation, or they can identify a synonym or antonym.

generate v. create; make

Households can generate electricity by installing solar panels on their roofs. What are some things that generate noise that you find unbearable? hostile adj. making it difficult to live

The Arctic is a hostile environment for humans, but many animals are adapted to live there. Where else would be a hostile environment for humans?

withstand v. remain strong in the face of

I’m not sure the tent can withstand the strong winds. What does a building need so it can withstand a storm?

COLLABORATE Your Turn Pick three words. Write three questions for your partner to answer.

• Have students think about and answer the question in blue: What are some things that generate noise that you find unbearable? (Construction work generates noise that I find unbearable.)

• Say: Look at the next two words on your own and respond to the questions in blue for each one.

• Have students think about and respond to the questions in blue for hostile (A volcanic area would be a hostile environment for humans.) and withstand (A building needs a strong foundation to withstand a storm.).

• Invite one or two students to share their responses.

• Say: Read the Your Turn prompt with me. Read: Pick three words. Write three questions for your partner to answer. (Answers will vary depending on the words that students pick and the questions they individually generated. Walk around the room to check students’ work. Questions should include the use of the vocabulary word.)

• Have students turn to page 86 and recall their previous discussion about the Essential Question: How do life forms vary in different environments?

• Have students look at the photographs on pages 86-89 before reading the story.

• Ask: What do you see? Students should be able to talk about the photographs they see on each page.

• Say: This is the last Paired Read text for this unit. It is called “Extreme Exploration.” We will listen to the audio first and then read together. When we read together, we will need to do some tasks.

• Play track 15 and have students follow along in their books as they listen to the text. Stop at the end of the text on page 89.

• Have students go back to page 86. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

PAIRED READ

FIND TEXT EVIDENCE

Read

Paragraph 1

How long was the adventure that Eva's family embarked on when she was eleven years old?

It was an eight-year adventure.

Paragraph 1

Circle what Eva developed a love for during that adventure.

Paragraph 2

How many other scientists worked on the Census of Marine Life project?

More than 2,500 scientists worked on this project.

Essential Question

How do life forms vary in different environments?

Read about a scientist who took part in the Census of Marine Life.

Talk with a partner about living at sea. What would you need to think about if you were living on a boat?

An Interview with Dr. Eva Ramirez-Llodra

Imagine being eleven years old and having your parents announce one day that your family is about to take off on an eightyear adventure, sailing around the world. That’s exactly what happened to Dr. Eva Ramirez-Llodra. She literally grew up at sea, and then when she turned nineteen Eva returned to her native Barcelona, Spain to study biology. She couldn’t have imagined then that the love for the sea she developed during that incredible trip would lead her to become a marine biologist.

In 1999, Dr. Ramirez-Llodra was chosen to become one of five coordinators for the Census of Marine Life project. Eva worked on this global effort with more than 2,500 other scientists. They explored deep-sea ecosystems all over the world for over

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about living at sea. What would you need to think about if you were living on a boat? (The most important thing you’d need to live on a boat is water. After that, you need to have enough food and a way to make sure your boat stays afloat. You probably want to protect yourself from pirates, too.)

ten years. The project’s goal was to create a record of the biodiversity, or the different kinds of life, that can be found in the world’s oceans. In this interview, Dr. Ramirez-Llodra answered questions about the unique organisms that live in the bottom-most depths of Earth’s oceans.

Q: How is it possible to do research in this kind of environment?

Dr. Ramirez-Llodra: Deep-sea exploration is not easy. It’s expensive and requires complex planning. There are several pieces of high-tech equipment that are needed. Cameras, video recorders, and communication equipment are just some. We need smaller vehicles called submersibles that scientists can maneuver easily down at the bottom of the ocean. These vehicles must make it possible for scientists to see the organisms they find up close. All of this equipment must be able to withstand conditions that are hostile to humans.

Q: What kind of habitat is the deep-sea environment?

Dr. Ramirez-Llodra: The deep sea is an extreme habitat! It’s extremely cold. There’s constant darkness. The water pressure is powerful as it increases further and further down in the ocean.

Q: How can anything live in such an extreme habitat?

Dr. Ramirez-Llodra: Actually, this habitat is not extreme or unfriendly to the creatures that live there. All living things adapt to their habitat. If they didn’t, they wouldn’t be able to survive. Deep-sea organisms are no different. An enormous variety of life forms have successfully adapted to the darkness, high water pressure, limited food supply, and icy cold waters. These organisms could never live in water close to the surface.

INTERVIEW

FIND TEXT EVIDENCE

Read

Paragraph 1

Underline the goal of the Census of Marine Life project.

Paragraph 3

Draw a box around the name of the equipment that allows scientists to see the organisms they find up close. What must scientists be able to do with it?

It must be able to withstand conditions that are hostile to humans.

Paragraph 5

Circle what kind of habitat the deep sea is.

Talk with a partner about extreme habitats. What other extreme environments do you know about?

• Have students move to page 87. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about extreme habitats. What other extreme environments do you know about? (The Arctic environment is freezing cold and very difficult to live in. Animals that live here have special adaptations to survive in this very harsh environment.)

• Have students turn to page 88 and read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about deepsea animals. What deep-sea animals do you know about? (Life on the bottom of the ocean is very difficult, and animals have adapted to survive there. The yeti crab, for example, has hairy arms on which it grows bacteria. It eats the bacteria as a source of food.)

PAIRED READ

FIND TEXT EVIDENCE

Read

Paragraph 2

Circle how many kinds of deepsea life forms may be living in this unusual habitat.

Paragraph 4

Why do many deep-sea organisms neither sink nor float?

They neither sink nor float because they have a density that is close to that of seawater.

Paragraph 6

Underline the two examples of events that can cause changes to the deep-sea ecosystem.

Talk with a partner about deepsea animals. What deep-sea animals do you know about?

Q: Are there many creatures living in this unusual habitat?

Dr. Ramirez-Llodra: There are scientists who work on identifying different species. They analyze the different organisms and create a scientific classification so that types of creatures that are similar are grouped together. Scientists believe there may be over a million kinds of deep-sea life forms!

Q: How have these organisms adapted to life in this unique environment?

Dr. Ramirez-Llodra: These organisms don’t suffer from the changing pressure underwater. That’s because they don’t have air inside their bodies. They have no difficulty moving in complete darkness. Some even use sound or light that they generate themselves to communicate with others of the same species These special sounds and lights also distract predators and attract prey. Many deep-sea species also have a reduced body density similar to the density of seawater. As a result, they neither sink to the sea floor nor float to the surface.

Q: How do changes to the ecosystem affect deep-sea species? What causes these changes?

Dr. Ramirez-Llodra: Changes in the ecosystem can certainly impact the deep-sea species that live there. A variety of things can cause these changes. Two examples are underwater landslides and storms of rapidly moving water currents. They can wipe out whole communities of organisms just as a tsunami or a landslide can affect people on land.

Q: How does global climate change affect the deep sea?

Dr. Ramirez-Llodra: Warmer water temperatures, for example, can affect the survival of smaller species. It can cause fish to migrate and affect the production of organic matter in water close to the surface. This matter is important because it sinks to the bottom and provides food for deep-sea organisms. Less organic matter near the surface means less food for the organisms that live far below.

Q: Why is the study of deep-water ecosystems so important?

Dr. Ramirez-Llodra: Deep-water ecosystems help maintain the natural cycles of our planet. They hold a wealth of biological and mineral resources. These resources include fish for food, compounds for medicines, and hidden reserves of oil, gas, and minerals. We’re using up many of the natural resources on land and in surface waters. It’s not surprising, then, that the idea of mining the depths of the ocean becomes increasingly appealing. However, the deep sea is the largest ecosystem on our planet. It’s also one of the most fragile. Having a good understanding of how the ecosystem works is essential if we are going to conserve our natural resources and use them wisely.

INTERVIEW

FIND TEXT EVIDENCE

Make Connections

How have deep-sea creatures adapted to their environment? ESSENTIAL QUESTION

What have you learned about the ways life forms vary in different environments? TEXT TO TEXT

Paragraph 2

Draw a box around what deep-sea ecosystems help maintain.

Paragraph 2

What are an example of a biological resource and a nonbiological resource we take from the ocean?

Fish and oil are examples of a biological resource and a nonbiological resource.

Paragraph 2

What is essential if we are to conserve our natural resources?

Having a good understanding of how the ecosystem works is essential.

Read COLLABORATE

Talk with a partner about fragile ecosystems. What can people do to help the environment?

• Have students move to page 89. Read each paragraph together. If it’s possible for your class, invite students to read individual paragraphs aloud.

• Read each prompt together and help students find the answers.

• Have students read the Talk prompt with you and help them complete the task: Talk with a partner about fragile ecosystems. What can people do to help the environment? (One fragile ecosystem is the Florida wetlands. Development of human civilization and the introduction of foreign species have destroyed the environment beyond recognition. People can work together to make sure that animals and plants in these places are protected and that no further building occurs.)

• Say: To finish analyzing the text, we are going to make connections. Look at the questions in the Make Connections box.

• Allow students to work in pairs, as small groups, or independently to answer the first question. (Deep-sea creatures have adapted by having no air in their bodies to handle pressure, using sound or light for communication and defense, and having a body density like seawater to stay afloat.)

• Invite students to address the second question as small groups or in pairs. Students should be able to answer and discuss the question with their peers. (I learned that deep-sea creatures adapt to darkness and pressure, while cave animals adjust to low light and moisture. Both environments have unique life forms suited to their extreme conditions.)

• Have students turn to page 90.

• Before reading through the page, say: We will be looking at ways to answer questions about the text.

• Call on students to help read the information on the page. Have a student read the opening question.

Talk About It

• Invite another student to read the Talk About It section.

• Have students talk with their partners about how Dr. Ramirez-Llodra responds to the interview questions. (Students should be able to talk about how Dr. Ramirez-Llodra’s responses to the questions reveal her feelings about her work.)

• Say: Look at the Quick Tip box. It gives us more information about making inferences from the text as well as connecting with the people and characters.

• Read the Quick Tip box together.

Cite Text Evidence

• Invite another student to read the Cite Text Evidence section.

• Guide students to use text evidence to add information to the graphic organizer.

PAIRED READ Reread

How does the author help you understand how Dr. Eva Ramirez-Llodra feels about her work as a marine biologist?

COLLABORATE

Talk About It Reread pages 86-89. Talk with a partner about how Dr. Ramirez-Llodra responds to the interview questions.

Cite Text Evidence What clues help you see how Dr. Ramirez-Llodra feels? Write text evidence in the chart.

Text Evidence

She couldn’t have imagined then that the love for the sea she developed during that incredible trip would lead her to become a marine biologist.

Scientists believe there may be over a million kinds of deep-sea life forms!

These organisms don’t suffer from the changing pressure underwater. . . they neither sink to the sea floor nor float to the surface.

How She Feels

lucky to be doing what she loves

Recognizing how people and characters feel is important for understanding any story or essay. Sometimes, the author doesn’t say exactly how the subject feels about a situation. In these cases, ask yourself how you would feel. Talk with friends and ask if they would feel the same way.

excited that there are so many species to study

amazed how deep-sea creatures have adapted to their extreme environment

Write I know how Dr. Ramirez-Llodra feels about being a marine biologist because

her responses to the questions show that she finds her research and career challenging and exciting.

•

Write (Show What You Learned)

• Students should refer to the notes on the graphic organizer as they respond to the writing prompt at the bottom of the page. When students have finished writing, have them share their responses.

• Say: Now, using the information you put into the graphic organizer, complete the writing activity: I know how Dr. Ramirez-Llodra feels about being a marine biologist because...

Quick Tip

Text Structure

When authors use an interview-style text structure, they can use a person's exact words along with an easy-to-read format. Authors structure their writing with answers immediately following each question.

FIND TEXT EVIDENCE

On page 87, in paragraphs 6 and 7, we see how the author introduces a question and records the interviewee's opinion exactly. The “Q:” and “Dr. Ramirez-Llodra:” are clues indicating whether a question or an answer is being provided.

Q: How can anything live in such an extreme habitat?

Dr. Ramirez-Llodra: Actually, this habitat is not extreme or unfriendly to the creatures that live there. All living things adapt to their habitat. If they didn’t, they wouldn’t be able to survive.

Your Turn Reread paragraphs 1 and 2 on page 89.

• What is the author asking Dr. Ramirez-Llodra?

The author is asking why it is important to study the deep-sea environment.

• What is Dr. Ramirez-Llodra’s response?

Dr. Ramirez-Llodra responds that deep-water ecosystems help maintain the natural cycles of our planet.

Readers to Writers

When you prepare an interview, make sure you have several questions ready in advance. These won't be the only questions you ask, but it's important to have material to start with. As you conduct the interview, you can also ask questions that arise naturally from the discussion.

•

Explain

• Have students turn to page 91.

• Before reading through the page, say: We will be looking at how writers use an interview-style text structure to share a person’s exact words.

• Read the Readers to Writers box together.

Model FIND TEXT EVIDENCE

• Show students how to identify interview-style text structure in the text.

• Say: In “Extreme Exploration,” the author indicates who is speaking by including “Q:” to indicate the questions being asked. When we see “Dr. Ramirez-Llodra:” we know that she is giving her response to the question.

•

Guided Practice Your Turn

• Say: Read the Your Turn prompt with me. Guide students to reread the paragraphs 1 and 2 on page 89 and answer the questions on the given lines.

• Have students turn to page 92.

• Before reading the prompts with students, say: You will be thinking about all the information you’ve read and connecting it with ideas from a photograph.

• Call on students to help read the information on the page. Have a student read the opening question.

Talk About It

• Invite another student to read the Talk About It section.

• Ask: If we look at the photograph and read the caption, what information can we get?

• Invite students to share what they think and how they would answer the question. (Students should be able to discuss the inclusion of the open space on the snowy ground that the photographer included.)

COLLABORATE

MAKE CONNECTIONS

Text Connections

How is the way the photographer of the picture below helps you understand the polar bear’s environment similar to how the authors of the selections you have read help you visualize different environments?

Talk About It Look at the photograph and read the caption. Talk with a partner about what you see and how the photographer's use of craft helps you understand how polar bears live.

Cite Text Evidence What clues in the photograph tell you about the polar bear’s environment? Circle them. Then think about the photographer’s craft. Underline details in the caption that show what the photographer wants you to know.

Write Both the photographer and the authors depict the environment through

• Invite another student to read the Cite Text Evidence section.

• Guide students to look at the photograph and caption again to identify what the photographer wants us to understand about the polar bear’s environment.

• Read the Quick Tip box together with students. detailed descriptions and visuals that help us picture the settings. The photographer’s picture shows the polar bear on ice, which helps us see its cold, icy home. In “The Secret World of Caves,” the authors describe the entrance, twilight, and dark zones, helping us imagine the cave’s cool, damp, and dark areas. In “Extreme Exploration,” Dr. Ramirez-Llodra describes the deep sea’s darkness and high pressure, which helps us visualize the extreme underwater world. These details make it easier to understand how different environments look and feel.

Writers and photographers help you understand information such as environmental conditions through their art. Compare the photograph with the selections you have read. What information does each convey?

Write (Show What You Learned)

• Have students write a response synthesizing the knowledge they have built about how we visualize different environments. When students have finished writing, have them share their responses.

• Say: For this writing section, you will write about how the selections you have read, as well as the photograph, help you understand something about how different environments are depicted. Take some time to consider everything we have read and talked about before you begin writing.

This polar bear walks on the ice near the open water in Alaska. He searches for seals to feed his family.

Quick Tip

Cite Text Evidence

RESEARCH AND INQUIRY

Present Your Work

Discuss how you will present your promotional map of a national park with caves. Use the Presenting Checklist as you practice your presentation. Discuss the sentence starters below and write your answers.

In my research about a national park with caves, I discovered

Quick Tip

During your rehearsal, have a member of your group sit in the back of the room or your presenting space. Have this member check to make sure he or she can see your map well and hear you clearly.

Presenting Checklist

•

Planning the Presentation

• Have students turn to page 93.

If I were to visit such a park, I would like to explore

Rehearse your presentation. Point out the park’s special features on your map and tell why people should visit the park.

Present your information in logical, organized sequence. Speak clearly and in complete sentences. Make sure your audience can see your map well. Make eye contact with your audience.

•

During the Presentation

• Tell students to write down any questions they have while observing others’ presentations. Explain that doing so will help them remember their questions after each speaker has finished.

• Following each presentation, guide the discussion by asking students to paraphrase or summarize the key ideas from the presentation.

• Guide students to use the provided sentence starters to help focus their discussion and responses. that several parks are linked to cave systems, and that people can go inside many of the caves. a cave system such as Carlsbad Caverns in New Mexico. I think it would be amazing to walk through a cave.

• Tell students that they will need to prepare in order to best present their maps. Say: Last time, you had the chance to gather information about a national park with caves and create a promotional map of that park. You will now have the time to present the maps that you created. Read together the directions at the top of the page.

• Remind students that they will be audience members for other students’ presentations and that as observers and listeners, they will play an important role in the presentations.

• Next, read the Quick Tip box with students and discuss how to rehearse their presentations.

• Discuss each item on the Presenting Checklist and give students time to practice their presentations before having them share their maps either in front of the class or from their seats.

Genre Writing: Write Your Own Expository Essay

Explain that students will develop a longer piece of writing in the same genre as the Shared Read or Paired Read. Students will work through all the stages of the writing process for these pieces.

Plan

Draft

Revise

Writers choose their topic. They consider their purpose and audience and plan their work using a range of strategies such as brainstorming, freewriting, and filling in graphic organizers. Sometimes they do research.

Writers use their notes to get their initial ideas on the topic down on paper.

Writers use rubrics and participate in peer and teacher conferences to help them refine the structure and content of their work. Students should revise their writing several times. Edit / Proofread

Writers check their spelling and edit their pieces for correct grammar, mechanics, and usage. Remind students that using standard English conventions allows them to communicate more effectively.

Publish / Present / Evaluate

Writers create a final version of the piece by printing out a clean copy or using their best handwriting. They synthesize and share their ideas.

Expert Model

• Discuss description • Write the draft

• Revise the expository essay, checking for linking words

• Revise the expository essay based on partner feedback

• Edit the expository essay, checking for correct grammar

• Proofread the expository essay, checking for correct spelling

• Publish and present the expository essay

• Self-evaluate using a rubric

•

Features of an Expository Essay

• Have students look at page 94.

• Explain that students will begin writing an expository essay.

• Review the features of expository texts. Ask students to recall what they know about an expository text that can help them with their own writing.

• Read the Word Wise box together with students.

Analyze an Expert Model

• First, we need to analyze an expert model. For us, we will be analyzing “The Secret World of Caves.” It is our example of an expository essay.

• Have students read the Analyze an Expert Model section with a partner to collaborate.

• Say: Work with your partner to answer the questions on this page. We will go over your ideas in a few minutes.

Expert Model

Features of an Expository Essay

An expository essay explains a topic by presenting a clear central idea followed by supporting information. An expository essay

• introduces the topic in a way that grabs the reader's interest

• supports the topic and the main ideas of paragraphs with relevant facts, quotations, and supporting details organized in a purposeful way

• uses transition words and phrases to connect ideas

Analyze an Expert Model Studying “The Secret World of Caves” will help you learn how to write an expository essay. Reread pages 73-75. Then answer the questions below.

How does the author capture the reader's interest in the first paragraph?

The author likens stepping into a cave to entering a new world. This makes the reader curious to learn about this new world.

What does the author compare and contrast in the passage?

The author explains that creatures in this category seek shelter in caves but don’t live their whole lives there.

The names of the different groups of animals within a cave have Greek origins. Many scientific terms are based on classical languages such as Greek and Latin. The same scientific terms are used around the world, which allows scientists to understand them no matter what native language they speak.

Word Wise

Plan: Choose Your Topic

Brainstorm With a partner or a small group, make a list of different habitats and the adaptations that living things need to survive there. Discuss the challenges for plants and animals living in these habitats. Think about what helps living things survive in an extreme environment such as the desert or the Arctic tundra.

Writing Prompt Choose two habitats from your list. After researching these habitats, you will write a compare-and-contrast essay about the adaptations that help plants and animals survive in these environments.

I will compare and contrast

the desert and the wetlands.

Purpose and Audience Think about who will read or hear your expository essay. Will your purpose be to inform, persuade, or entertain? Then think about the language you will use to write your essay. Will it be formal or informal?

My purpose is My audience will be

Quick Tip

To make it easier to compare and contrast, you can choose two habitats that are very different. For example, compare a very wet habitat with a very dry one, or a very hot habitat with a very cold one.

to inform readers about the similarities and differences between the desert and the wetlands. my classmates and my peers.

I will use language when I write my expository essay.

Plan In your writer’s notebook, make a Venn diagram to plan your essay. Write the name of one habitat in the left circle and the name of the other habitat in the right circle. Label the overlapping middle section with the word “Both.”

• • In their writer’s notebooks, have students create a Venn diagram like the one on the page. They should write the name of one habitat in the left circle, and the name of the other in the right circle. Then, they need to label the space in the middle as “Both.” They can use this diagram to plan their essay.

•

• Have students look at page 95.

• Say: Before we begin to write something, we need to come up with ideas. This is brainstorming.

• Invite a reader to read the Brainstorm section. Then give students time to work together with their partner or small group.

• If time allows, ask students to share something they talked about.

Writing Prompt

• Say: Choose two of the habitats from your list to write about in an expository essay. Write what you will be comparing and contrasting on the line in the middle of the page.

• Read the Quick Tip box with students and answer clarifying questions they may have about comparing and contrasting.

Purpose and Audience

• Explain that authors often write expository essays to explain a topic of interest with readers.

• Give students time to consider their audience and record their ideas on the given lines.

•

•

How Are They Alike? How Are They Different?

• Have students look at page 96.

• Say: Part of planning our writing is thinking about how things are alike and different.

• Have students read the How Are They Alike? How Are They Different? section.

• Tell students that authors think carefully about they ways in which the subject of their compare-and-contrast essay is similar to and different from something else.

• Say: As you research and plan your essay, keep the questions on this page in mind. List two characteristics to compare and contrast on the given lines.

• Give students time to work. Then, if time allows, invite them to discuss their ideas with a partner.

Plan: Compare-and-Contrast Text Structure

How Are They Alike? How Are They Different? There are similarities and differences between different things. When you compare, you describe how the things are alike. When you contrast, you describe how the things are different. As you research and plan your compare-and-contrast essay about different habitats, answer these questions:

• How are the climates different between the two habitats?

• How are the environments different between the two habitats?

• How have plants and animals adapted to live in these different habitats?

List two characteristics of your chosen habitats that you will compare and contrast in your essay.

Take Notes As you take notes on your topic, paraphrase information by putting it into your own words. Then use your Venn diagram to map the similarities and differences between the two habitats.

•

Take Notes

• Tell students that they can paraphrase, or put the information into their own words, as they research and take notes.

• Remind them to use their Venn diagrams to map the similarities and differences between the two habitats.

Draft

Description Writers of expository text use various kinds of describing words, especially comparative adjectives, to enhance the clarity of their ideas. Comparative adjectives are words like "bigger," "smaller," "more," and "less" that compare one thing to another. By using these adjectives, writers provide a basis for comparison, helping readers understand the information better. Read the paragraph below from “The Secret World of Caves.” Underline the words that show comparison.

Stepping into a cave is like entering an entirely new world. The environment is suddenly cooler and damper. Though there is some light here, it is dimmer than the light outside. There is a sense of stillness and quiet. This outermost area is called the entrance zone. It is a hallway leading to the many secrets of life in a cave.

Quick Tip

As you write your essay, try to use a variety of adjectives. Adjectives help you convey information about your topic more clearly. They also provide an opportunity to make your writing more interesting. Use a thesaurus to find adjectives that will not only clarify your ideas, but also make your writing more interesting to read.

•

Description

• Have students look at page 97.

• Explain that writers of expository text use a variety of describing words to make sure readers are clear on the information.

• Say: In a compare-and-contrast essay, writers will use comparative adjectives such as bigger, smaller, more, and less to show how things are alike or different.

• Have students read the Description section and complete the activity near the bottom of the page.

Now use the above paragraph as a model to compare and contrast the habitats you chose. Choose appropriate adjectives to make comparisons.

The desert is much hotter and drier than the wetlands. Plants in the desert are fewer, while the wetlands have many more. Desert animals live with very little water, whereas wetland animals need lots of water. The desert is less lively, while the wetlands are much greener and full of life.

Write a Draft Use your Venn diagram to help you write your draft in your writer’s notebook. Compare and contrast the two habitats using appropriate adjectives.

• Read the Quick Tip box together with students.

Write a Draft

• Have students review the diagrams they created during the Plan phase. They will use their diagrams as they write their drafts.

• Remind students that they should include comparative adjectives as they talk about the two habitats.

• Give students time to work on their drafts. If they are stuck, or need help, ask them questions about their ideas that might help them get back on task.

Linking Words

• • Have students look at page 98.

• Say: Now that you have your first draft written down, you can start the revision process.

• Explain that writers will use linking words in their essays to connect and clarify ideas.

• Have students read the Linking Words section and ask questions if they have them.

• Invite a volunteer to read the activity prompt for Linking Words.

• Give students time to respond before asking them to share their ideas.

• Read the Quick Tip box with students.

Revision

• Say: Now, it’s time to revise your writing. Be sure to reread your draft and look for places where you might include linking words to connect ideas.

• Have students check that their facts and ideas are relevant to their topic. Their ideas should be presented in a logical order.

• Read the Quick Tip box together with students.

GENRE WRITING

Revise

Linking Words Writers use linking words to connect and clarify ideas. Different linking words are used to signal comparison and contrast. To show similarities between two things, writers may use linking words such as like, both, similarly, and also. To show differences between two things, writers may use linking words such as unlike, yet, and but. Read the paragraph below. Then revise it to add appropriate linking words to compare or contrast ideas.

Quick Tip

When you write, try to complete your first draft before going back to revise it. When you look at your writing as a whole, you may discover the need for larger changes to make it read better. After you have the draft looking more or less how you want it, then it’s time to edit and fix mistakes.

Deserts and wetlands are different for animals. Deserts have little rainfall. Wetlands have flooding sometimes. Animals in both places need to adapt to survive. Desert animals save water. They are active at night. Wetland animals can swim. They deal with changing water levels. Adaptations help animals live in their environments.

Deserts and wetlands are different for animals. Deserts have little rainfall, while wetlands have flooding sometimes. However, animals in both places need to adapt to survive. For example, desert animals save water and are active at night. In contrast, wetland animals can swim and deal with changing water levels. These adaptations help animals live in their environments.

Revision Revise your draft and check that all your facts and ideas are relevant to your topic and presented in logical order. Remember to use appropriate linking words to compare or contrast ideas.

•

COLLABORATE

Peer Conferences

Review a Draft Listen carefully as a partner reads his or her work aloud. Take notes about what you liked and what was difficult to follow. Begin by telling what you liked about the draft. Ask questions that will help the writer think more about his or her writing. Make suggestions that you think might make the writing more focused and coherent. Use these sentence starters:

Your introduction aroused my interest because . . .

Some linking words you might want to use are . . .

I have a question about . . .

I don’t understand this comparison. Can you explain how . . .?

Partner Feedback After your partner gives you feedback on your draft, write one of the suggestions that you will use in your revision. Refer to the rubric on page 101 as you give feedback.

Based on my partner's feedback, I will

add supporting details to clarify a few ideas.

Revising Checklist

Does my writing fit my purpose and audience?

Did I use a compareand-contrast text structure?

What details can I add or remove to make the comparisons clearer and more relevant?

Did I use a variety of adjectives to make comparisons?

Did I use appropriate linking words to show comparison and contrast?

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• Have students look at page 99.

• Say: Writers often need other people to help them through their revisions. We are going to help each other revise our expository essays.

• Partners should already be in place to complete this activity. Say: Listen carefully while your partner reads their work. Once your partner has finished, talk about what you liked about their essay. Then, you can ask questions or make suggestions using kind words.

• Have students use the sentence starters on the page, or their own, to talk about their partner’s draft.

After you finish giving each other feedback, reflect on the peer conference. What was helpful? What might you do differently next time?

Revision As you revise your draft, use the Revising Checklist to help you figure out what ideas you may need to add, delete, combine, or rearrange. Remember to use the rubric on page 101 to help with your revision.

Revision

• Say: At this point, it’s time to take the feedback you received from your peer conferences and make additional revisions.

• Review the Revising Checklist together. Allow students time to implement suggestions. Tell students that the rubric on page 101 can also help with revision. Go over each box so students know how to reach each score. Give students time to consider the feedback they received.

• After students have completed their revisions, allow them time to share how their partners’ feedback helped improve their expository essays.

• After both partners have given feedback, have students complete the task in the Partner Feedback section.

• Have students share the suggestion from their partner that they intend to implement in their revision.

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• Have students look at page 100.

• Tell students that after they have finished their drafts, they must go back to edit and proofread. Say: We are nearly done with the writing process for the compare-and-contrast expository essay. At this point, you don’t need to make really big changes. In the Edit and Proofread section, you will make sure your work is ready for publication.

• Read the information at the top of the page with students. Tell them that the Grammar Connections box and the Editing Checklist are all things to consider as they work to put the final revisions on their essays.

• Give students time to go through their writing to edit and proofread. Ask them to list two mistakes that they found while proofreading their essay on the lines provided.

GENRE WRITING

Edit and Proofread

When you edit and proofread your writing, you look for and correct mistakes in spelling, punctuation, capitalization, and grammar. Reading through a revised draft multiple times can help you make sure you’re catching any errors. Use the checklist below to edit your sentences.

Editing Checklist

Do all sentences begin with a capital letter and end with a punctuation mark?

Does every sentence have a subject and verb?

Are linking words used correctly?

Are appropriate adjectives used?

Are all words spelled correctly?

Grammar Connections

Adding a comma in transitions can help clarify the structure of a sentence and improve readability. When a sentence begins with a transition, it's often followed by a comma to separate it from the main clause. For example: However, I decided to go to the movies. In addition, she brought some snacks to share.

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Evaluate

Publish, Present, and Evaluate

Publishing When you publish your writing, you create a clean, neat final copy that is free of mistakes. Adding visuals can make your writing more interesting. Consider including illustrations, photographs, or maps to help make your essay more interesting.

Presentation When you are ready to present your work, rehearse your presentation. Use the Presenting Checklist to help you.

Evaluate After you publish your writing, use the rubric below to evaluate your writing.

What did you do successfully?

Presenting Checklist

Stand or sit up straight. Look at the audience. Speak clearly and loud enough so your audience can hear you. Slow your pace by pausing after introducing new or difficult information. Enunciate new or difficult words or names.

Display any visuals so that everyone can see them.

What needs more work? 4 3 2 1

• gives an informative, interesting, and detailed explanation of the topic

• compares and contrasts ideas clearly

• includes a variety of linking words to compare or contrast ideas

• gives an adequate explanation of the topic

• generally compares and contrasts ideas, but lacks clarity

• uses some linking words to compare or contrast ideas

• attempts to explain the topic but not clearly

• makes an attempt to compare or contrast, but explanation is difficult to understand

• uses few linking words to compare or contrast ideas

Answer questions thoughtfully, using specific details from your essay.

• does not focus on a particular topic

• writing is disorganized and does not include comparisons

• does not use linking words to compare or contrast ideas

• Explain that rubrics show what is expected from the assignment and how it will be evaluated. Ideally, students should look at rubrics before they begin writing in order to fulfill all the requirements. When they finish, they should evaluate their work.

• Say: After you have presented, evaluate your writing using the rubric. Think about what you did successfully and what you think needs more work. Write down your ideas on the lines.

• Have students exchange essays with a partner and give the partner a score. Remind them to be respectful. When they are finished, have students reflect on the effectiveness of the collaboration and on their progress as writers. Have them note where they need improvement and set writing goals.

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Publishing

• Have students look at page 101.

• Once their drafts are final, students can prepare for publishing and presenting their work. Published work should be error-free with all visuals in place.

• Say: You have now finished your expository essays and are ready to publish your work.

• Read the Publishing section together with students. Allow students time to create their final copy of the essay. Remind them that they can add illustrations or other visuals once their writing is done.

Presentation

• Say: You will have the opportunity to present your essay and any illustrations or visuals to the whole class. To prepare for the presentation, practice a few times and refer to the Presenting Checklist.