10th Grade - Gateway 1

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1c. 

Grade 10 texts quantitatively range between 320L–1570L for the year. Most texts that fall outside of the Grades 9–10 Lexile Stretch Band have qualitative measures that make them appropriately complex for the grade. The relationship of the quantitative and qualitative analyses to the associated reader task is not appropriately complex. Students often make graphic organizers to track the reading skill of focus and their post-reading use of these charts varies. While some Extend the Text tasks serve as associated reader tasks, these tasks are optional and may not occur during core instruction. Extend the Text task options often do not connect to the graphic organizer that students create at the start of their reading. Although materials include text complexity information for quantitative and qualitative measures, the documentation does not include a rationale for educational purpose and placement in the grade level. 

Core/Anchor texts do not have the appropriate level of complexity for the grade according to documented quantitative analysis, qualitative analysis, and relationship to their associated student task. Documentation does not include a rationale for educational purpose and placement in the grade level. Examples include, but are not limited to, the following:

• Anchor/Core texts do not have the appropriate level of complexity for the grade according to quantitative and qualitative analysis and relationship to their associated student task. 

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, of the twenty-four selections students read, twelve fall within the Grades 9–10 Lexile Stretch Band, eight fall below, and one is significantly above the stretch band. The other two remaining texts do not have a Lexile level. The anchor text is an excerpt from Desert Exile: The Uprooting of a Japanese-American Family, an autobiography by Yoshiko Uchida (1260L). This Guided Reading text falls within the Grades 9–10 Lexile Stretch Band, and materials list the Reading Level of the text as Moderate. Difficulty considerations include historical context and vocabulary, and an ease factor is first-person narrator. Students ``read, interpret, analyze, and evaluate an autobiography about the experience of a Japanese-American family in an internment camp.” Students ``make a timeline like the one shown below” to “keep track of the sequence of events in [the] story,” placing “the key events in chronological order along the timeline.” Students do not revisit their timeline after reading the text nor do the Extend the Text task options address sequence of events. It is also unclear how this associated task aligns to its correlated grade-level standard: “Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them.”

  • In Unit 3, Realizations, Poetry Connections, of the twenty-nine selections students read, twenty-six do not have Lexile levels. Two texts fall below the Grades 9–10 Lexile Stretch Band and one falls within the stretch band. Students read and compare the anchor texts, “Shall I compare thee to a summer’s day,” a sonnet by William Shakespeare (Non Prose-NP), and “I know I am but summer to your heart,” a sonnet by Edna St. Vincent Millay (NP). Shakespeare’s sonnet has a Reading Level of Challenging with abstract concepts, vocabulary, and older form of English listed as Difficulty considerations and length listed as an Ease Factor. Millay’s sonnet has a Reading Level of Moderate with abstract concepts and vocabulary identified as Difficulty Considerations and theme and length identified as Ease Factors. The Directed Reading anchor texts are paired with two Informational Text Connection selections, “Well-Versed Approach Merits Poetry Prize,” a news article by Joanne Lannin (1170L) ,and “The Broken Oar,” a sonnet by Henry Wadsworth Longfellow (NP). Both selections have a Reading Level of Moderate. Difficulty Considerations for Lannin’s work include vocabulary and the Ease Factor is subject matter. Materials do not list Difficulty Considerations or Ease Factors for Longellow’s work. The sonnets are paired so students can practice comparing and contrasting literary elements such as theme, tone, and iambic pentameter and meter. Students also study themes, such as being realistic and relationships, and make a cultural connection to the sonnet. While reading, instructions ask students to ``explore the similarities and differences in themes and tones of the two poems. Then use your observation, along with support from the poems, to sum up the main idea of each poem. Use a Venn Diagram like the one below to keep track of your comparisons.`` 

  • In Unit 5, What Makes Us Human, Folk Literature Connections, of the nineteen selections students read, six are within the Grades 9–10 Lexile Stretch Band, five fall below, and four are above the stretch band. The four remaining texts do not have a Lexile level. Students read “The Drowned Maid,: an excerpt from The Kalevala by Elias Lonnrot (1070L). This Directed Reading text falls within the lower end of the Grades 9–10 Lexile Stretch Band. The Reading Level for this text is identified as Challenging text with length and style listed as Difficulty Considerations and repetition listed as an Ease Factor. This text is paired with a Literature Connection piece, “In the Blue Woodland”,song lyrics by Ruth MacKenzie (NP), and an Informational Text Connection piece, “Lord of the Rings Inspired by Ancient Epic,”a magazine article by Brian Handwerk (1400L). MacKenzie’s work has a Reading Level of Moderate with subject matter and author’s style identified as Difficulty Considerations and short stanzas identified as an Ease Factor. Handwerk’s selection has a Reading Level of Challenging with vocabulary and cultural references listed as Difficulty Considerations and length listed as an Ease Factor. As students read “The Drowned Maid,” they make a prediction and analyze the mood of the selection along with how repetition helps to create mood. Students make a timeline and add key events to it while reading to keep track of the events. Students do not use their timeline after reading the texts nor do the Extend the Text task options address sequence of events. It is also unclear how this associated task aligns to its correlated grade-level standard: “Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them.”  

• Anchor/Core texts and series of texts connected to them are accompanied by an accurate text complexity analysis; however, the text complexity analysis does not include a rationale for educational purpose and placement in the grade level.

  • The text overview page for each selection includes the following text complexity information: the gradual release of responsibility stage (i.e., Guided Reading: Close Reading Model, Directed Reading, Independent Reading), Reading Level and Lexile level, Difficulty Considerations, and Ease Factors. Materials do not explain the educational purpose of the text and the reason for its placement in the grade level.

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1d.  

While series of texts are largely at a variety of complexity levels, the complexity levels of anchor texts and supporting texts students read do not provide an opportunity for students’ literacy skills to grow across the year. Text overviews often include Use Reading Skills and Analyze Literature tasks that outline an area of focus and task students with creating a chart to analyze or evaluate the area of focus; however, students rarely use the chart they make to complete an associated reader task after reading the text. Extend the Text tasks, while optional, often do not provide students with opportunities to demonstrate their understanding of the focus area. When provided, associated reader tasks do not increase in complexity over the course of the year. While the program’s gradual release of responsibility reading model “emphasizes scaffolded instruction,” students often do not receive support as texts become more complex. Because the Lexile levels of text selections increase within most units, students receive the most support during Guided Reading at the beginning of the unit, when Lexile levels typically fall below the Lexile Stretch Band, and the least support during Independent Reading at the end of the unit, when Lexile levels are typically at the high end or above the Lexile Stretch Band.

Series of texts should be at a variety of complexity levels appropriate for the grade band to support students’ literacy growth over the course of the school year. Examples include, but are not limited to, the following: 

• The complexity of anchor texts students read does not provide an opportunity for students’ literacy skills to increase across the year, encompassing an entire year’s worth of growth.

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, texts range from 470L–1350L. Students read Elie Wiesel’s speech, “Keep Memory Alive” (470L) followed by the Informational Text Connection piece, “No News from Auschwitz,” a news article by A. M. Rosenthal (1290L). The Reading Level for “Keep Memory Alive” is listed as Moderate, with historical elements and semi formal style listed as Difficulty Considerations and length and rhetorical questions listed as Ease Factors. Materials do not list text complexity information for the Informational Text Connection selection. While reading Wiesel’s speech, students ``gather important details into a Main Idea Map like the one below.” Guidance also directs students to “use the details to determine the main idea and draw conclusions about it,” after reading the selection. The Extend the Text section does not include any tasks that address main idea and details.  

  • In Unit 3, Realizations, Poetry Connections, most texts have a quantitative measure of NP because this unit focuses on poetry. Exceptions include one prose poem (550L), an Informational Text Connection selection (1170L), and a Primary Source Connection piece (750L). Students read a paired selection containing two lyric poems: The Bean Eaters” by Gwendolyn Brooks (NP) and “Dream Variations” by Langston Hughes (NP). Materials list the Reading Level of “The Bean Eaters” as Easy with subject matter as a Difficulty Consideration and style as an Ease Factor. The text does not include questions or tasks that address main idea and details. Materials list the Reading Level of “Dream Variations” as Easy with abstract concepts as a Difficulty Consideration and style and vocabulary as Ease Factors. Materials define main idea and direct students to “[u]se a Main Idea Map like the one below to record details” to assist them with drawing conclusions about the main idea of the text. Extend the Text options do not address main idea and details.  

  • In Unit 5, What Makes Us Human, Folk Literature Connections, texts range from 710L–1570L.  Students read “Magic Words,” a narrative poem by Nalungiag translated by Edward Field (NP). Materials list the Reading Level for this Guided Reading text as Easy, with cultural references as a Difficulty Consideration and familiar words as an Ease Factor. Students ``gather important details into a Main Idea Map like the one below.” While reading, students ``use the details to help determine the main idea.” Extend the Text options do not address main idea or details. Directed Reading selections begin with “Naked Truth and Resplendent Parable,” a Yiddish Folktale (710L). Materials identify the Reading Level for this text as Moderate, with abstract concepts identified as a Difficulty Consideration and language and length identified as Ease Factors. Students “gather important details into a Main Idea Map.” Guidance directs students to “add details to the map” while reading and “use the details to determine the main idea” after reading. Extend the Text options do not address main idea or details. 

• As texts become more complex, some scaffolds and/or materials are provided in the Teacher Edition (e.g., spending more time on texts, more questions, repeated readings, skill lessons).

  • The front matter of the Teacher Edition explains the program’s gradual release of responsibility reading model: “Guided Reading at the beginning of the unit (Grades 6-10) provides the framework for the teacher to guide students through the reading process. Close Reading Models walk students through the selections and demonstrate how to analyze literature and apply reading skills and strategies to each genre.” Next, the gradual release reading model transitions students to Directed Reading. During this stage, “the teacher begins to transfer responsibility to the students. Students are directed through explicit pre- and post-reading instruction, but during-reading support is reduced to encourage students to practice reading skills and monitor comprehension on their own.” The reading model concludes with Independent Reading. This stage “advances the total release of responsibility from the teacher to the students, who can now apply the skills and knowledge required to read increasingly more difficult selections on their own.”

  • In Unit 1, Choices, Fiction Connections, students read “Masque of the Red Death” by Edgar Allan Poe (1220L). The Reading Level for this text is listed as Challenging, with difficult vocabulary, long sentences, and paragraphs as Difficulty Considerations and vivid descriptions and suspense as Ease Factors. Pre-reading instruction for this Directed Reading text includes guidance on using comparison clues to determine the meaning of unfamiliar words and a Preview Vocabulary activity. During the vocabulary activity, students “[u]se the comparison clues in the sentences below to figure out the meanings of the underlined words from the selection. Then confirm the meanings of the words by looking them up in the Glossary of Vocabulary Words in the back of your textbook.” The activity addresses the words profuse, dauntless, and eccentric. During reading, materials include a Teaching Note on gothic fiction, a Teaching Note: The Writing Is On the Wall questions activity, and a Critical Thinking Discussion Guide. Post-reading instruction includes an Analyze Literature: Setting and Symbol embedded inset. 

  • In Unit 5, What Makes Us Human, Folk Literature Connections, students read and compare an excerpt from the anchor text, Sundiata: An Epic of Old Mali by D. T. Niane (930L) with an excerpt from The Once and Future King by T. H. White (970L). Materials list the Reading Level of Niane’s selection as Moderate with unfamiliar names, cultural references, and vocabulary identified as Difficulty Considerations. Materials identify the Reading Level of White’s work as Moderate with archaic language and difficult vocabulary as Difficulty Considerations. As part of the Close Reading model, students respond to various Close Read questions while reading. Materials also include embedded Teaching Notes that include support with correctly pronouncing the character’s names and context on the meanings of characters’ names. Materials embed several Connecting with Literature pieces that provide context on the geography and culture and history of Mali. 

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1g.

The materials provide frequent opportunities for students to engage in speaking and listening activities and projects. Materials also  include directions for conducting such exercises; however, there are no protocols for these activities and projects found in the core materials, nor  guidance for how or when teachers should model speaking and listening techniques. At the end of each unit, materials include a Speaking and Listening Workshop where students can practice, present, and actively listen to oral presentations. These Workshops include steps on how to conduct a particular speaking and listening project, as well as a rubric and speaking and listening tips. 

Materials provide frequent opportunities for speaking and listening; however, speaking and listening opportunities do not include protocols. Examples include, but are not limited to, the following: 

• Materials do not provide varied protocols for speaking and listening to support students’ developing speaking and listening skills across the whole year’s scope of instructional materials.

  • In Unit 1, Choices, Fiction Connections, students read “Two Kinds,” a short story by Amy Tan. A Teaching Note in the Teacher’s Edition gives directions for a Pair-Share: “Have students find partners. Divide ‘Two Kinds’ into as many sections as there are pairs. Assign each pair to reread a section of the text. Pairs should create questions that come out of their section. Go back through the text, section by section, and have pairs share the questions they had.” While the Teaching Note includes directions for the activity, there is no evidence of a specific protocol used to support students’ developing speaking and listening skills. 

  • In Unit 4, Between Friends, Drama Connections, during one of the Extend the Text options for Antigone by Sophocles, translated by Dudley Fitts and Robert Fitzgerald, students “deliver an informative presentation.” Directions for the task include: “Imagine that your class will film a performance of Antigone. To educate the cast and crew, research the Golden Age of Greece (477 BCE–431 BCE). Collect material from various sources. For example you might do an Internet search on Sophocles to find related information, or you might visit the library for books and videos on ancient Greece. In an oral presentation, share your findings on the historical context of the play and how to use that information in the construction of film sets and costumes. Have the cast and crew follow your instructions in preparation for filming.” Although materials include directions for students to complete this optional task, there is no evidence of a specific protocol used to support students’ developing speaking and listening skills.

  • In Unit 6, The Examined Life/Strange Happenings, Independent Reading Connections, students analyze a media presentation during the Speaking & Listening Workshop. The steps include “Identify Purpose, Elevate Support, Analyze Sources, and Be Aware of Biased Sources.” The rubric for this particular Workshop states that students will be judged on the following: how much you participate in the class discussion, the insightfulness of your comments, your ability to listen to classmates’ ideas, and your responses to classmates ideas. Although materials include directions for students to complete this Workshop, there are no protocols for students to conduct the speaking and listening task and develop their speaking and listening skills.  

• Teacher guidance includes modeling of academic vocabulary and syntax during speaking and listening opportunities.

  • In Unit 1, Choices, Fiction Connections, the teacher reminds students of the definition of irony as they read “The Monkey’s Paw,” a short story by W. W. Jacobs. The teacher then uses the following questions to lead the class in a discussion about the irony in the text: “What do the Whites expect to happen when they ask for two hundred pounds? What actually happens?”

  • In Unit 4, Between Friends, Drama Connections, the teacher models how to make and support inferences using textual evidence using a passage from the one-act play, A Marriage Proposal by Anton Chekhov, translated by Theodore Hoffman. Students then respond to the following questions using evidence from the text to support their answers: “How do you think Natalia feels about Lomov? Does she love him?”  

  • In Unit 6, The Examined Life/Strange Happenings, Independent Reading Connections, students read Toni Cade Bambara’s short story “Geraldine Moore the Poet.” The teacher defines conflict, pointing out and illustrating that conflict can sometimes be internal. Students then respond to the following question: “What is the internal conflict Geraldine faces?” 

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1h. 

Materials include opportunities for stand-alone and text-based discussions. Students may respond to Close Reading, Analyze Literature, Use Reading Skills, Refer to Text, and Reason with Text questions in writing or orally as instructed by their teacher. Where appropriate, the Teacher Wrap in the Teacher Edition contains Critical Thinking Discussion Guides, which provide opportunities for text-based discussions. Although the Discussion Guide includes a series of text-specific questions and suggested answers, materials do not provide evidence of follow-up questions or supports, such as entry points for students who may have difficulty initiating or engaging in conversation. Some Extend the Text options include speaking and listening opportunities; however, the enactment of these activities are based on teacher selection and, as a result, may not occur during core instruction. Mirrors & Windows, and Use Reading Skills: Make Connections questions are often stand-alone in nature, allowing students to reflect on personal experiences while discussing sub-themes and topics related to texts of study. Materials do not include evidence of teacher guidance for monitoring students’ speaking and listening opportunities. Explicit speaking and listening instruction occurs during the End-of-Unit Speaking & Listening Workshop; however, this Workshop is not a part of core instruction.

Examples include, but are not limited to, the following: 

• Speaking and listening instruction includes some facilitation, monitoring, and instructional supports for teachers.

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, students read “The Trouble with Television,”an argumentative essay by Robert MacNeil. During an Extend the Text option, students may participate in a panel discussion: “Consider MacNeil’s assertion that television is ‘decivilizing’ the nation. Hold a panel discussion in which some students support this idea and others argue that television benefits the nation. As a group, set the ground rules for the discussion and assign a moderator to reinforce the rules during the discussion. A representative for each position should give an opening statement about the issue. Then the moderator or audience can ask questions for clarification or elaboration of ideas.” Although this activity includes directions for students and teachers to follow, the materials do not include evidence of teacher guidance on monitoring the student discussion or instructional supports for students who may be having difficulty starting or engaging in the conversation. The Extend the Text section contains four options from which the teacher may choose. As a result, this activity may not occur during core instruction.

  • In Unit 4, Between Friends, Drama Connections, students read The Tragedy of Julius Caesar by William Shakespeare. The Critical Thinking Discussion Guide for Act IV directs teachers to “[h]ave students evaluate Brutus’s decisions by discussing the following questions. Was Brutus right to participate in the conspiracy? Explain. Did Brutus make the right decision in allowing Antony to speak after Caesar’s murder? Explain.” Although the Discussion Guide includes possible student responses, the materials do not include evidence of teacher guidance on monitoring the student discussion or instructional supports for students who may be having difficulty starting or engaging in the conversations. 

  • In Unit 5, What Makes Us Human, Folk Literature Connections, students read “The Drowned Maid,”an excerpt from The Kalevala by Elias Lonnrot. In the Teacher’s Edition, a Teaching Note provides the following guidance on a Pair-Share activity: “Divide the class into small groups, and tell the groups each to create six questions about ‘The Drowned Maid.’Instruct the groups to pass their questions to another group to answer. Invite each group to share the best answers.” Although this activity includes directions for teachers to follow, the materials do not include evidence of teacher guidance on monitoring the student discussion or instructional supports for students who may be having difficulty starting or engaging in the conversation. 

• Students may have multiple opportunities over the school year to demonstrate what they are reading through varied speaking and listening opportunities. Instruction occurs during the Extend the Text section, that contains four options from which the teacher may choose. As a result, this activity may not occur during core instruction.

  • In Unit 1, Choices, Fiction Connections, in the Extend the Text section for “The Open Window,” a short story by Saki, students have the option to perform a skit: “Work with a partner to write a skit, or short play, about two characters in a conventional social situation who find things are not turning out as expected. ...Once you have written and rehearsed your skit, act it out for your class.” The Extend the Text section contains four options from which the teacher may choose. As a result, this activity may not occur during core instruction.

  • In Unit 3, Realizations, Poetry Connections, in the Extend the Text section for the narrative poem “Ex-Basketball Player” by John Updike, students have the option to prepare for a debate: “‘High school sports offer young people valuable preparation for the game of life.’ Do you agree or disagree? Choose a position, and then write a series of taking points that you might use to support your opinion in a debate on the issue...When you have finished, share your talking points with a classmate who has adopted the opposing side of the issue.” The Extend the Text section contains four options from which the teacher may choose. As a result, this activity may not occur during core instruction.

  • In Unit 5, What Makes Us Human, Folk Literature Connections, in the Extend the Text section for the narrative poem “Magic Words” by Nalungiaq, students have the option to practice storytelling: “Many children’s stories, such as ‘Cinderella’, ‘The Frog Prince’, and ‘Beauty and the Beast’, contain elements of magic. Work with other students to brainstorm a list of such stories...Take turns telling these stories to one another orally. Then discuss how stories change when they are told orally and not written down.” The Extend the Text section contains four options from which the teacher may choose. As a result, this activity may not occur during core instruction.

• Speaking and listening work requires students to utilize, apply, and incorporate evidence from texts and/or sources.

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, students read Elie Wiesel’s speech, “Keep Memory Alive,” and A. M. Rosenthal’s news article, “No News from Auschwitz.”During the Lifelong Learning Extend the Text option, students “[c]hoose a subject related to the Holocaust to research” and “use the Internet, library, and other sources to learn more about it.” Students “[p]repare an oral presentation with visual aids on [their] subject” and ensure they allot time to “respond to questions that may require further clarification or elaboration of [their] findings.” This activity is one of four options from which the teacher may choose and, as a result, may not occur during core instruction.  

  • In Unit 3, Realizations, Poetry Connections, students read the lyric poem, “Remember.” by Joy Harjo. In the Media Literary Extend the Text option, students can research Native American myths: “Using Internet or library resources, research Native American myths about one of the following animal characters: Coyote, Raven, or Lynx. Share the results of your research with the class in an oral report.” The Extend the Text section contains four options from which the teacher may choose. As a result, this activity may not occur during core instruction.

  • In Unit 5, What Makes Us Human, Folk Literature Connections, students read excerpts from Miguel de Cervantes Saavedr’s novel The Ingenious Hidalgo Don Quixote de la Mancha. While working in small groups, students find the complete edition of the novel and “read more of the title character’s misadventures.” Then, students ``[c]hoose one event and prepare it to be presented as a skit to the class.” Students may choose a narrator in addition to the other characters, rewrite the material, and add dialogue. When adding dialogue, guidance encourages students to “try to stay true to the tone and style of the novel.” Students present their skits to the class. This activity is one of four Extend the Text options from which the teacher may choose and, as a result, may not occur during core instruction.

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1i. 

Materials offer both on-demand and process writing opportunities for students primarily in post-reading Extend the Text tasks and End-of-Unit Writing Workshops. Extend the Text sections contain two, mode-specific writing prompts, and each Writing Workshop focuses on a specific mode of writing. The Workshops guide students through the entire writing process—prewriting, drafting, revising, editing and proofreading, and publishing. Materials also include a student model and instructional guidance for teachers in the Teacher Wrap of the Teacher’s Edition; however, there is no guidance to indicate where students should compose their writing. The Writing and Grammar Handbook offers in-depth lessons that expand on these Writing Workshops, and the Writing section of the Language Arts Handbook also offers detailed information for students on the writing process and modes and purposes of writing; however, these ancillary materials are not part of core instruction. Because teachers have the choice of which Extend the Text exercises to complete, there is no guarantee that students will complete the writing opportunities offered. Materials utilize digital resources where appropriate.

Examples include, but are not limited to, the following: 

• Materials include on-demand writing opportunities that cover a year’s worth of instruction.

  • In Unit 1, Choices, Fiction Connections, students read the short story, “The Open Window,’ by Saki. After reading the selection, students may complete an on-demand narrative writing exercise: “Reread the story and look for clues that indicate what Framton is thinking and feeling during his visit to the Sappleton home. Then write a three-paragraph personal essay from Frampton's point of view that describes his experience at the Sappleton home and the effect it had on him and his health, as well as his opinion about the Sappleton family, especially Vera.” This activity is one of four Extend the Text options from which the teacher may choose. As a result, this activity may not occur during core instruction.

  • In Unit 4, Between Friends, Drama Connections, in the Extend the Text section for The Tragedy of Julius Caesar by William Shakespeare, students may complete a creative writing activity during which they “write an obituary for Brutus.” This activity is one of four Extend the Text options from which the teacher may choose. As a result, this activity may not occur during core instruction.

  • In Unit 5, What Makes Us Human, Folk Literature Connections, students complete a Vocabulary & Spelling Workshop on informal and archaic language. At the end of the Workshop, students apply the skills they learned in various exercises, including the following: “Write a dialogue between two characters you have recently encountered in your reading. Choose characters from different places or regions. In your dialogue, include at least five examples of informal English. Use formal English to set up the dialogue with a narrative section. When you have finished your work, read your dialogue aloud to a small group of classmates and ask the group for feedback.” It is unclear if the Vocabulary & Spelling Workshop is a part of core instruction. 

• Materials include process writing opportunities that cover a year’s worth of instruction. Opportunities for students to revise and edit are provided.

  • In Unit 1, Choices, Fiction Connections, students write a plot analysis during the Writing Workshop: “Choose a story from this unit and write a plot analysis, using the three-part process—prewriting, drafting, and revising.” During the revision stage, materials provide students with guidance on how to evaluate their draft and revise their work for content, organization, and style. Materials include a Student Model to serve as an exemplar for how revision and editing improved a student’s writing.  

  • In Unit 3, Realizations, Poetry Connections, students write a lyric poem for the End-of-Unit Writing Workshop: “Using precise language and imagery, write a lyric poem that expresses emotions about a specific subject.” Students begin by selecting a topic, gathering information, organizing their ideas into a cluster chart, and writing their opening. They then draft each stanza and evaluate their work by exchanging poems with a partner. Materials provide a Student Model to guide the revision process and a Revision Checklist for students to evaluate their own work. The process concludes with directions for publishing, presenting, and reflecting. 

  • In Unit 6, The Examined Life/Strange Happenings, Independent Reading Connections, students complete a Writing Workshop on narrative writing during which they compose a short story: “Write a short story about a strange happening.” The Workshop directions include the purpose and audience for the story and guide students through the entire process of writing the short story: prewriting, drafting, revising, editing and proofreading, publishing, and presenting. 

• Materials include digital resources where appropriate. 

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, students read excerpts from the autobiography, My Left Foot, by Christy Brown, and the memoir, The Diving Bell and the Butterfly, by Jean-Dominique Bauby. During the Media Literacy Extend the Text option, students use digital resources to write a news story: “Imagine that you are a news reporter doing research for a story. Your assignment is to provide a guide for five or six websites on cerebral palsy or another disability. Create a graphic organizer to record your notes about the website and help you evaluate the trustworthiness of the sites’ information...In your story, rate each site and comment on the site’s strengths and weaknesses.” 

  • In Unit 4, Between Friends, Drama Connections, students read A Marriage Proposal, a one-act play by Anton Chekhov. In the Media Literacy Extend the Text option, students use digital resources to create a television commercial: “Go online to find information about different methods of conflict resolution. Then, create the script for a television commercial about solving problems peacefully.”

  • In Unit 5, What Makes Us Human, Folk Literature Connections, students read and compare an excerpt from Sundiata: An Epic of Old Mali by D. T. Niane, and an excerpt from The Once and Future King by T. H. White. During the Media Literacy Extend the Text option, students use digital resources to analyze visual and sound techniques: “Watch and analyze a movie about a historic or legendary hero. Think about the following questions: What visual and sound techniques did the director use to portray the life of the hero? How were camera angles, editing techniques, lighting, sound, and special effects used? How did the filmmaker’s decisions affect your perception of the hero?  Write a brief analysis that answers these questions.”

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1j.  

Materials provide some opportunities for students to learn, practice, and apply different writing modes during on-demand and longer process writing tasks across the school year. Materials include  on-demand creative, narrative, informative, and descriptive writing opportunities during the post-reading Extend the Text section. Because these tasks are optional and based on teacher choice, there is no guarantee students will complete the provided tasks. Other opportunities for writing occur when students read eSelections that are available in Passport, or a digital component of the materials. With access to Passport, students have the ability to use Criterion, which is an online writing evaluation tool; however, it is unclear how to access it or use it. Without access to the digital platform, it is unclear how and where students compose their writing. Process writing instruction and tasks occur during the End-of-Unit Writing Workshops; however, explicit instruction is limited and materials do not meet the required distribution required by the standards.

Materials provide some opportunities for students to address different text types of writing that reflect the distribution required by the standards. Examples include, but are not limited to, the following:  

• Materials provide some opportunities across the school year for students to learn, practice, and apply different genres/modes/types of writing that reflect the distribution required by the standards. 

  • Materials include the following Writing Workshops— two informative, one argumentative, one descriptive, two narrative—resulting in an uneven distribution of explicit instruction on the writing modes required by the standards.

  • In Unit 1, Choices, Fiction Connections, for the Writing Workshop, students write an informative plot analysis: “Choose a story from this unit and write a plot analysis, using the three-part process—prewriting, drafting, and revising.” Materials guide students through the entire writing process. In the Prewrite stage, students select a topic, gather information, organize it using a plot element chart, and write their thesis statement. They then draft the introduction, body, and conclusion. The Revise stage includes a Student Model and a Revision Checklist. During the final stage, the Workshop includes information on follow-up writing tasks and how students can reflect on their work. Materials provide one more opportunity for students to learn, practice, and apply informative writing—when writing a research paper during the Unit 5 Writing Workshop.

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, students focus on narrative writing during the end-of-unit Writing Workshop as they compose a personal narrative about a true story from their life. During the Prewrite stage, students select a topic, gather information, and organize their ideas for writing. Materials include information on writing a thesis statement, a writing rubric, and a details chart showing students how to organize their ideas. During the Draft stage, materials guide students on drafting the introduction, body, and conclusion. During the Revise stage, students evaluate and revise their draft for content, organization, and style. Materials provide a Student Model with annotations as an exemplar for revising. The Writing Follow-Up stage includes information on students publishing, presenting and reflecting on their work. Materials provide one more opportunity for students to learn, practice, and apply narrative writing—when writing a short story during the Unit 6 Writing Workshop.  

  • In Unit 4, Between Friends, Drama Connections, the Writing Workshop focuses on argumentative writing. Students write an argumentative essay persuading readers to consider their point of view on a topic they believe in. The materials guide students through all aspects of the writing process, including prewriting, drafting, and revising. Students begin by selecting a topic, gathering information, organizing their ideas, and writing a thesis statement. The Workshop includes an Argumentative Essay Evidence Chart to help students organize their argument. Students then evaluate their draft and revise for content, organization, and style. The Workshop includes a writing rubric, model for revising, a student sample product, and a revision checklist. Although materials do not provide further opportunities for students to learn and apply argumentative writing, students do have opportunities to practice argumentative writing during optional activities, such as on-demand Extend the Text writing tasks and End-of-Unit Test Practice Workshops.

• Different genres/modes/types of writing are distributed throughout the school year; however, there is no core instructional path. Writing opportunities may not occur during core instruction. 

  • Students have opportunities to engage in argumentative writing. 

    • In Unit 1, Choices, Fiction Connections, students read the short story, “Two Friends,” by Guy de Maupassant. After reading, students may complete an argumentative writing task where they write a five-paragraph argumentative essay in which they take a position on whether or not the two friends were foolish to go fishing during a war. Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode. 

    • In Unit 3, Realizations, Poetry Connections, students read the poem, “Making a Fist," by Naomi Shihab Nye. After reading, students may complete the following Argumentative Writing task: “Think about the main idea in ‘Making a Fist’ and what you did or did not like about the poem. Write a one-page argumentative essay in which you advise a friend who is editing a poetry anthology whether or not to include ‘Making a Fist’ in the anthology.” Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode. 

    • In Unit 5, What Makes Us Human, Folk Literature Connections, students read the fairy tales, “Mother Holle," by Jacob and Wilhelm Grimm, and “The Wonderful Hair," retold by Parker Fillmore. After reading, students may complete an argumentative writing task in which they write a review of either selection for a local newspaper. Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode. 

  • Students have opportunities to engage in informative/explanatory writing. 

    • In Unit 1, Choices, Fiction Connections, students read the short story, “The Leap," by Louise Erdrich and the poem, “Her Flying Trapeze," by Nikki Giovanni. After reading, students may complete an informative writing task: “What is courage? For a magazine for teenagers, write a one-page essay about what courage is, based on the lives of Anna Avalon and the woman in Nikki Giovanni's poem, ‘Her Flying Trapeze.’” Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode.

    • In Unit 4, Between Friends, Drama Connections, students read the play, Antigone by Sophocles. After reading, students may complete an informative writing task in which they write a literary analysis of the play, explaining what makes it a tragic play. Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode. 

    • In Unit 5, What Makes Us Human, Folk Literature Connections, students read the epic, “The Drowned Maid," by Elias Lonnrot, and “In the Blue Woodland," song lyrics by Ruth MacKenzie. After reading, students may complete an informative writing task in which they write a literary analysis exploring the moods of both selections. Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode. 

  • Students have opportunities to engage in narrative writing. 

    • In Unit 1, Choices, Fiction Connections, students read Saki’s short story, “The Open Window," During the Narrative Writing Extend the Text option, students “write a three-paragraph personal essay from Franton’s point of view that describes his experience at the Sappleton home and the effect it had on him and his health, as well as his opinion about the Sappleton family, especially Vera.” Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode. 

    • In Unit 3, Realizations, Poetry Connections, after reading “Ex-Basketball Player,” a narrative poem by John Updike, students “[w]rite a section of Flick Webb’s memoir, focusing either on his childhood, his basketball career, or his life after basketball” during one of the Extend the Text Writing Options. Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode. 

    • In Unit 5, What Makes Us Human, Folk Literature Connections, students read an excerpt from Miguel de Cervantes Saavedra’s novel The Ingenious Hidalgo Don Quixote de la Mancha. During one of the Extend the Text Options, students ``write a parody of a fairy tale, fable, or other well-known story.” Because this is an optional Extend the Text task, students may not have the opportunity to practice writing in this mode.

• Where appropriate, writing opportunities are connected to texts and/or text sets (either as prompts, models, anchors, or supports).

  • In Unit 1, Choices, Fiction Connections, students read “The Monkey’s Paw," a short story by W.W. Jacobs. Afterwards, students may complete the following Informative Writing Extend the Text task: “Imagine ‘The Monkey’s Paw’ is going to be included in a suspense anthology. Write a one-page analytical introduction to be included in the anthology in which you discuss the use of foreshadowing in the story. Use the notes you took while reading or skim the story to find examples of foreshadowing.” Because this is an optional Extend the Text task, this writing opportunity may not occur during core instruction. 

  • In Unit 3, Realizations, Poetry Connections, students read and compare two lyric poems, “Eating Alone," by Li-Young Lee, and “The Floral Apron," by Marilyn Chin. After reading both texts, students may complete the following Creative Writing task: “Imagine that the speakers in ‘Eating Alone’ and ‘The Floral Apron’ meet at a dinner party and begin to discuss their childhood experiences with each other. Write a dialogue for these characters in which they exchange memories and comment on the significance that these recollections have for them. Try to make your dialogue consistent with the personalities and character traits of the speakers, as these are revealed in each poem.” Because this is an optional Extend the Text task, this writing opportunity may not occur during core instruction. 

  • In Unit 5, What Makes Us Human, Folk Literature Connections, students read a paired selection containing “Orpheus,” a myth retold by Robert Graves, and “Tree Telling of Orpheus,” a lyric poem by Denise Levertov. During the Descriptive Writing Extend the Text option, students “write a brief character sketch of Orpheus, based on what [they] learned about him from the myth and the poem,” “[f]or an encyclopedia of famous mythological characters.” Because this is an optional Extend the Text task, this writing opportunity may not occur during core instruction.

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1k. 

Materials provide practice and application opportunities for evidence-based writing but lack explicit evidence-based writing instruction with the exception of some Writing Workshop tasks. During some post-reading tasks, students cite evidence from the text in their written tasks, make claims, and defend their claims using their comprehension and analysis of texts. Extend the Text tasks are optional and based on teacher choice, so there is no guarantee students will engage in evidence-based writing opportunities when offered. Other opportunities sometimes include the Writing Workshops students complete at the end of each unit, additional writing assignments found in the Grammar and Writing ancillary, and the Analyze Literature prompts. It is important to note that many of the writing activities are optional and do not consistently require students to support their analyses and defend their claims using textual evidence.

Materials include some opportunities for evidence-based writing to support sophisticated analysis, argumentation, and synthesis. Examples include, but are not limited to, the following:

• Materials provide limited opportunities across the school year for students to learn, practice, and apply writing using evidence.

  • In Unit 1, Choices, Fiction Connections, the End-of-Unit Writing Workshop focuses on informative writing. Students “[c]hoose a story from this unit and write a plot analysis, using the three-part process—prewriting, drafting, and revising.” After settling on a story to analyze, students reread the text during the Prewrite stage, copying “quotations you may want to refer to in your essay” in a Plot Element Chart. After organizing their ideas and writing a thesis statement, students craft their introduction, set a tone, use vivid sensory details, develop characters and conflicts, and compose a conclusion that mentions insights gained, during the Draft stage. The Workshop also includes some instruction on using precise language and dialogue. While this Workshop includes practice, it does not include explicit instruction on standards-aligned, evidence-based writing. 

  • In Unit 4, Between Friends, Drama Connections, the End-of-Unit Writing Workshop focuses on argumentative writing. Students “[w]rite an argument essay about a subject that is important to [them].” Students begin by selecting a topic, researching the topic and gathering ideas on note cards, organizing the information into an Evidence Chart, creating an outline, and developing a thesis statement. The drafting stage provides guidance on establishing credibility with language, using an appropriate tone, providing evidence for each point, acknowledging opposing viewpoints, and writing a conclusion that leaves readers thinking. While this Workshop includes practice, it does not include explicit instruction on standards-aligned, evidence-based writing. 

  • In Unit 5, What Makes Us Human, Folk Literature Connections, the End-of-Unit Writing Workshop focuses on informative writing: “Research a conflict and write an informative paper reporting your findings.” Students begin by selecting a topic, doing preliminary research, locating references, taking notes, and organizing ideas into a K-W-L chart. The drafting phase includes guidance on writing an effective introduction, supporting points with facts, ideas, and quotes, crafting an appropriate writing style, and using paraphrasing versus direct quotes. While this Workshop includes practice, it does not include explicit instruction on standards-aligned, evidence-based writing. 

• Writing opportunities are focused around students’ analyses and claims developed from reading closely and working with texts and sources to provide supporting evidence.

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections,  students read an excerpt from My Left Foot, an autobiography by Christy Brown, and an excerpt from The Diving Bell and the Butterfly, a memoir by Jean-Dominique Bauby. After reading, students may complete an Informative Writing task: “For a high school literary magazine, write a two-or three-paragraph critical essay in  which you identify and evaluate each writer’s theme. How are the themes similar and how are they different? Use evidence from the selections to support your ideas.” This activity is one of four options from which the teacher may choose and, as a result, may not occur during core instruction. 

  • In Unit 4, Between Friends, Drama Connections, after reading The Tragedy of Julius Caesar, a play by William Shakespeare, students may complete an Informative Writing task: “The Tragedy of Julius Caesar is considered a classic. Many lines or phrases from the play have entered casual speech, and ‘Et tu, Brute?’ is known by many people who haven't read or seen the play. Write a critical paragraph examining why this play has become a classic and what about it appeals to modern audiences. Use specific examples from the play to support your ideas.” This activity is one of four options from which the teacher may choose and, as a result, may not occur during core instruction. 

  • In Unit 5, What Makes Us Human, Folk Literature Connections, students read “The Drowned Maid” from The Kalevala, a Finnish epic by Elia Lönnrot, along with “In the Blue Woodland” from Kalevala: Dream of the Salmon Maiden, song lyrics by Ruth MacKenzie. After reading, students may complete an Informative Writing task: “Explore the moods of ‘The Drowned Maid’ and ‘In the Blue Woodland.’ How would you describe the mood of each piece? How does the mood affect your understanding of each piece? Answer these questions in a one-page literary analysis. In your opening paragraph, include a thesis statement that expresses your opinion about the role mood plays in the two pieces. In your body paragraphs, use support from the selections to support your thesis. Write a conclusion that summarizes your opinions.” This activity is one of four options from which the teacher may choose and, as a result, may not occur during core instruction.

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1l. 

Each unit contains several Grammar & Style Workshops, which have sections on understanding the concept, applying the skill, and extending the skill. The lessons connect to selections students read just before the workshop. Units also contain Vocabulary & Spelling Workshops with sections on understanding the concept, applying the skill, and spelling practice using words from unit text selections. Workshops may not occur during core instruction, as their enactment is contingent upon the teacher selecting the activity from the Lesson Plan for the text selection. On occasion, materials include informal grammar and convention activities listed in the Teaching Notes of the Teacher’s Edition. Although materials include an array of instructional components, there are missed opportunities for grade-level grammar and usage instruction, practice, and authentic application in context. 

Materials include some explicit instruction of the grade-level grammar and usage standards, with opportunities for authentic application in context. Examples include, but are not limited to, the following: 

• Students have opportunities to use parallel structure. 

  • In Unit 1, Choices, Fiction Connections, students complete a Grammar & Style Workshop on parallel structure. The teacher launches the lesson with a warm-up activity then instructs students on various ways of using parallelism to add emphasis and rhythm to a sentence, using examples from Margaret Atwood’s poem, “Death of a Young Son by Drowning.” Practice opportunities include identifying and correcting parallel structure in sample sentences, and improving a paragraph. During the application task, students use parallelism when responding to a writing prompt. After completing a draft of their letter, students “exchange [their work] with a classmate and check for correct use of parallelism.” Extension opportunities include searching for and examining speeches for the presence of parallelism. 

• Students have opportunities to use various types of phrases (noun, verb, adjectival, adverbial, participial, prepositional, absolute) and clauses (independent, dependent; noun, relative, adverbial) to convey specific meanings and add variety and interest to writing or presentations. 

  • In Unit 3, Realizations, Poetry Connections, students complete a Grammar & Style Workshop on phrases. The teacher launches the lesson by having students review types of phrases including prepositional, participial, gerund, and infinitive phrases in a chart and writing example sentences for each type. The teacher then reviews relevant terms with the students. Practice opportunities include identifying the type of phrases underlined in sample sentences, writing sentences containing phrases from a list, and improving a paragraph. To apply their learning, students “research the biography of Naomi Shihab Nye” and “write a short biographical sketch of the poet” using “at least one of each of the four different types of phrases: prepositional, participial, gerund, and infinitive.” Extension opportunities include examining recently read works for the presence of relevant phrases.

  • In Unit 4, Between Friends, Drama Connections, during the Grammar and Style Workshop on coordination, subordination, and apposition, students learn how to identify and use independent clauses, subordinate clauses, and appositive phrases. In the Apply the Skill section, students practice identifying the function of a clause in a sentence. Authentic application opportunities include composing a description of a special day with a family member using “coordination, subordination, and apposition to link ideas, identify, and provide more information about your family member and the time you shared.”  

• Students have opportunities to use a semicolon (and perhaps a conjunctive adverb) to link two or more closely related independent clauses. 

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, after reading an excerpt from Yoshiko Uchida’s autobiography Desert Exile, students complete a Grammar & Style Workshop on colons and semicolons. The teacher launches the lesson with a brief discussion on the importance of punctuation in clarifying meaning. The teacher then instructs students on the various uses of semicolons: “Use a semicolon between independent clauses joined by a conjunctive adverb (however, therefore, furthermore, etc.) or a transitional phrase (for example, as a result, in other words, etc.). Example: Mr. Uchida was released on parole; therefore, he would soon join his family.” In the Apply the Skill section, practice opportunities include improving a paragraph which includes this relevant sentence: “Traditionally, elders in Japanese society are given much respect by the younger generations however, the Issei, who were immigrants to the United States, were not given positions of authority in the camps.” To apply their learning, students “[w]rite five factual statements about Yoshiko Uchida” and use a colon or semicolon to add variety to their writing. Extension opportunities include reading an essay or news article and writing a summary of it, using at least one colon and semicolon. 

• Students have opportunities to use a colon to introduce a list or quotation. 

  • In Unit 2, Things That Divide and Things That Unite, Nonfiction Connections, after reading an excerpt from Yoshiko Uchida’s autobiography Desert Exile, students complete a Grammar & Style Workshop on colons and semicolons. The teacher launches the lesson with a brief discussion on the importance of punctuation in clarifying meaning. The teacher then instructs students on the various uses of colons, including “to introduce a list of items” followed by the example, “The Uchidas’ friends sent them the following things: cookies, nuts, dried fruit, and jams.” In the Apply the Skill section, students examine sentences for the correct use of colons and semicolons and rewrite incorrect sentences, including this relevant example: “Uchida points out some positive aspects of the internment; a sense of unity, family togetherness, and pride in survival.” To apply their learning, students “[w]rite five factual statements about Yoshiko Uchida” and use a colon or semicolon to add variety to their writing. Students can extend their skills by reading an essay or news article and writing a summary of it, using at least one colon and semicolon. 

• Students have opportunities to spell correctly. 

  • In Unit 4, Between Friends, Drama Connections, students complete a Vocabulary & Spelling Workshop on spelling rules and tips. The teacher launches the lesson by doing a warm-up activity on using mnemonics to help students remember how to spell frequently misspelled words. The teacher then instructs the students on how to remember spelling patterns for suffixes with y and the ie/ei pattern; how to break words into syllables to remember how to spell them; and how to use mnemonic devices to remember how to spell words. Practice opportunities include identifying and rewriting misspelled words in sentences from the recently read Act III of The Tragedy of Julius Caesar by William Shakespeare, rewriting a paragraph with incorrectly spelled words in it, and creating mnemonic devices for a list of vocabulary words from the unit. Authentic application opportunities include using correct spellings of the spelling patterns presented in the Workshop while writing a review of a popular website. Extension opportunities include creating a spelling rule for a list of commonly misspelled words from The Tragedy of Julius Caesar.

The materials reviewed for Grade 10 partially meet the criteria for Indicator 1m. 

At the beginning of each unit, materials include an overview of all vocabulary words, academic vocabulary, and key terms. These words are also listed in the Teacher Wrap of the Teacher Edition alongside the corresponding selection. Words listed as Preview Vocabulary are taken from sentences within selections and are defined in the side margin or at the bottom of pages where they appear. Words listed as Selection Words are additional words from the reading that may be challenging, but are not central to the selection. These are Tier One words that can easily be understood by using context clues. Words listed as Academic Vocabulary are words that are used in the directions about the lessons. These are Tier Two words that explain what students should focus on, help establish context, clarify meaning of literary terms, and define goals or instructional purpose. Words that are listed as Key Terms are domain-specific Tier Three words. The repetition of these words throughout the program helps to ensure student mastery. 

Materials include two Vocabulary & Spelling Workshops within each unit. These Workshops correlate to two of the unit selections that use vocabulary words from the text that precedes the Workshop and contain instruction followed by practice exercises. The enactment of this Workshop is based on teacher selection and, as a result,may not occur during core instruction.The Unit Selection Resources ancillary also includes vocabulary preview activities and lessons for each unit. The Vocabulary & Spelling ancillary also has lessons that build word study skills and instruction based on vocabulary words from selections. Although materials include multiple elements that address vocabulary acquisition and practice, these elements are not cohesive nor do materials provide teacher guidance on a year-long plan to support students’ vocabulary development. Additionally, ancillary resources are not a part of core instruction.

Materials include opportunities for students to interact with key academic vocabulary words in and across texts; however, the year-long vocabulary plan lacks cohesion. Examples include, but are not limited to, the following:

• Materials do not provide teacher guidance outlining a cohesive year-long vocabulary development component.

  • There is no explanation of a year-long cohesive plan for vocabulary instruction; rather, materials include multiple components that address vocabulary, and it is up to the teacher to decide which components to use for instruction. For instance, at the beginning of each unit, materials provide Tier One, Tier Two, and Tier Three vocabulary word lists with the corresponding pages for where the words occur in text. Materials also list the vocabulary words in the Teacher Wrap of the Teacher Edition with the corresponding page number in the section where they occur. Materials define the vocabulary words at the bottom of the selection in which they appear. Each selection includes a short Preview Vocabulary section where students try to unlock the meaning of underlined words from the selection before reading. Occasionally, the Teacher Wrap of the Teacher Edition includes instructions for helping students understand the meaning of words. Materials include two Vocabulary and Spelling Workshops which focus on vocabulary skills instruction. If teachers want to explore selection vocabulary in more depth, they must use the Unit & Selection Resources ancillary. Since it is up to teachers to choose which of these program elements to include in instruction, there is no guarantee that the vocabulary development supports offered will occur during core instruction. 

• Vocabulary is repeated in contexts (before texts, in texts) and across multiple texts; however, it is unclear how materials build students’ vocabulary development of Tier One and Tier Two words during core instruction.

  • In Unit 1, Choices, Fiction Connections, the word eccentric appears as a Tier One Preview Word for “The Masque of the Red Death” by Edgar Allan Poe and as a Tier One Selection Word for “Two Friends” by Guy de Maupassant. Materials identify the word eccentric in the text and define the term in a footnote in “The Masque of the Red Death.” 

  • In Unit 4, Between Friends, Drama Connections, the word reverence appears as a Tier One Preview Word for Antigone by Sophocles and as a Tier one Selection Word for The Tragedy of Julius Caesar by William Shakespeare. Materials identify the word reverence in the text and define the word in the side margin of the text. While reading Act III of The Tragedy of Julius Caesar, Students respond to a Use Reading Skills prompt addressing a passage of text that contains the word reverence: “Direct students to III.i.173–176. What feelings do Brutus and Cassius express toward Antony?”  

  • In Unit 5, What Makes Us Human, Folk Literature Connections, materials define the Key Term legend in the Introduction to Folk Literature section and during the Compare Literature: Legend and Archetype section of the Comparing Texts page for excerpts from Sundiata: An Epic of Old Mali by D.T. Niane and The Once and Future King by T.H. White: “A legend is a story that is passed down over generations, often based on real events or characters from the past. As you read about Sundiata and King Arthur, consider which elements in the selections might be historical and which are probably not.” 

• Attention is paid to vocabulary essential to understanding the text and to high-value academic words (e.g., words that might appear in other contexts/content areas). 

  • At the beginning of each unit, materials include lists of the Tier Two and Tier Three vocabulary words students will encounter over the course of each unit in the Teacher Edition. Each word is followed by the page numbers where the words appear. At the beginning of each selection, materials list Tier One and Tier Two words under the heading Words in Use followed by page numbers for each vocabulary word. Tier Two and Tier Three words often appear in the before reading information and in Vocabulary & Spelling Workshops. Materials repeat certain Key Terms (Tier Three words) throughout the unit to give students more exposure to and practice with vocabulary words. 

• Students are supported to accelerate vocabulary learning with vocabulary in their reading, speaking, and writing tasks.

  • In Unit 1, Defining Moments, Fiction Connections, students complete a Vocabulary & Spelling Workshop on idioms, metaphors, similes, and analogies, all Tier Three terms. In the Understand the Concept section, students learn the definition of each term and read an example of each usage. This section also includes a short review of the definition of each term. In the Apply the Skill section, students complete a series of exercises to practice what they learned: copying sentences and underlining idioms, similes, and metaphors; completing analogies using vocabulary words from the selection they just read; choosing one of the stories in the unit and identifying the similes, metaphors, and idioms in the selection; writing a poem using five of the previously identified similes, metaphors, and idioms; and choosing a sentence from a list that most closely matches the meaning of a provided sentence. 

  • In Unit 3, Realizations, Poetry Connections, students complete a Vocabulary & Spelling Workshop on the Tier Three terms denotation and connotation. Students learn the difference between denotation, or dictionary definition of a word, and the connotation, or emotional association with a word. After looking at an example, students consider the word flick from the poem they just read, read the denotation of the word, and consider the connotation. Students then complete several exercises to apply the skill: identify the denotation and connotation of a list of words, rewrite a paragraph to change the connotation of key words, and brainstorm a list of words that have similar meaning but different connotations.  

  • In Unit 5, Pass It On, Folk Literature Connections, students read the fairy tales, “Mother Holle” by Jacob and Wilhelm Grimm and “The Wonderful Hair” retold by Parker Fillmore. Before reading, students learn the Tier Three term, motif, and are directed to “look for motifs and other archetypal elements shared by the two fairy tales.” During reading, students identify motifs in the story that are common to other fairy tales they know and look closely at how mood and motif are related. After reading, students choose a common motif and compare and contrast how it was developed in each story as well as what the motif might suggest about the values of the culture.