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MC3 #3 Appendix © Macomb Intermediate School District 2006

Macomb Collaborative Grade 3 - Unit #3

Appendix 1. Prompt [Day 1] 2. Peer Editing Questions [Day 2] 3. Checklist for Revision and Publishing [Day 2] 4a-b. 4-point and 6-point Rubrics [Days 1 and 2] 5. Elements of Story Template [Days 3, 6, 10 and 14] 6a-b. Fable: “The Hippopotamus at Dinner” [Days 3 and 5] 7a. Narrative Retelling Procedure [Days 4 and 6] 7b. Model Retelling: “The Hippopotamus at Dinner” [Day 4] 7c. Narrative Text Retelling Rubric [Days 4 and 6] 8. Think Aloud Procedure [Days 4 and 12] 9a-b. Genre: Fable and Student Bookmark [Day 4] 10a. Blank Fable Map [Day 5] 10b. Fable Map for “The Hippopotamus at Dinner” [Day5] 11a-b. Genre: Folktale and Student Bookmark [Days 6, 10 and 14] 12a-b. Profundity Charts [Day 7] 13a-b Dialogue Strips [Day 7] 14. How Well Do I Know These Words? [Day 8] 15a. Hansel and Gretel Rap [Day 9] 15b. The Three Bears Rap [Day 9] 15c. The Three Little Pigs Rap [Day 9] 16a-f. Hansel and Gretel Reader’s Theatre [Day 9] 17. Vocabulary in Context Strategy [Day 9] 18. Theme/Lesson Chart [Days 4 and 10] 19a-d. The Emperor’s New Clothes Story Theater [Day 10] 20. Sparkle Words Model [Day 10] 21a-f. The Principal’s New Clothes Reader’s Theater [Day 11] 22a. Blank Venn Diagram [Day 12] 22b. Venn Diagram with Examples [Day 12] 22c-d. Dress the Emperor/Principal [Day 12] 23a-c. Poems [Day 14] 24a. The Porridge Pot [Day 15] 24b. Comparison Chart: Strega Nona and the Magic Porridge Pot [Day 15] 25a-b. Word Ladder Procedure [Day 15] 25c-f. Word Ladders [Day 15] 26a. Blank Character Trait Web [Day 15] 26b. Character Trait Web with Examples [Day 15] 27a-b. Genre: Porquoi Tale and Student Bookmark [Days 16 and 17] 28a-b. Pourquoi Writing Organizer [Days 16 and 17] 29a-b. Chart: Lessons That Characters Learned [Day 18] 30. Response Prompt and Checklist [Days 19 and 20] 31. Rubric [Days 19 and 20]


Directions: Write about a story you like. Do the following:

Tell the story, briefly.

Then tell why the story is important to you.

Did it teach you a lesson or make you feel better? Explain what the story did for you or what lesson it taught.

Use examples from your life. Use the paper provided for notes, freewriting, outlining, clustering, or writing your rough draft. If you need to make a correction, cross out the error and write the correction above or next to it neatly. You should give careful thought to revision (rethinking ideas) and proofreading (correcting spelling, capitalization, and punctuation). Use the checklist to help improve your writing. (Optional: You may use a dictionary, thesaurus, spelling book and/or grammar book.) Appendix #1


Peer Editing Questions

• Is the central idea or point of the writing clear? • Is the central idea or point supported by important and relevant details,

examples, and/or anecdotes (a story from my life)? • Does the writing begin with an interesting and engaging lead, continue

with a middle that supports and develops the point, and finish with an end that summarizes the point?

• Is the writing interesting with engaging words and different sentence

lengths and types? • What do I, as the listener, think is good about the writing? • Do I have questions and/or suggestions for the writer? Appendix #2


Checklist for Revision and Publishing Checklist for Revision • Did I stay focused on the topic in my writing? • Did my details/examples support my topic? • Do I need to take out details/examples that DO NOT support my topic? • Did I use a variety of interesting words, phrases, and/or sentences? Checklist for Publishing • Have I checked and corrected my spelling to help readers understand my

writing? • Have I checked and corrected my punctuation and capitalization to help

my readers understand my writing? Appendix #3

Third Grade Analytic Writing Rubric

Qualities of Writing

4 3 2 1

Content and Ideas

Writing is on topic and interesting

Writing is on topic.

Writing is generally on topic.

Writing may show little or no development of the topic or may be too limited in length.

Organization The writing flows from beginning to middle to end.

There is a beginning, middle, and end.

There is an attempt at sequence or development of thoughts.

There is an attempt to get words and/or sentences on paper.

Style The writing creates emotion in the reader.

The writing holds the reader’s attention.

Sentences may be simple or incomplete with limited vocabulary.

Written vocabulary is limited.

Conventions Writing generally shows accuracy in punctuation and capitalization. It also demonstrates knowledge of sound-letter correspondence and spelling rules; errors do not interfere with understanding.

There may be surface feature errors, but they don’t interfere with understanding.

Surface feature errors may make understanding difficult.

Kearsley Community Schools, 1997 Appendix #4a


Writing shows little or no use of writing conventions.

MEAP Analytic Writing Rubric

Characteristics 6 5 4 3 2 1

Content and Ideas The writing is exceptionally clear, and focused. Ideas and content are thoroughly developed with relevant details and examples where appropriate.

The writing is clear, and focused. Ideas and content are well developed with relevant details and examples where appropriate.

The writing is generally clear and focused. Ideas and content are developed with relevant details and examples where appropriate, although there may be some unevenness.

The writing is somewhat clear and focused. Ideas and content are developed with limited or partially successful use of examples and details.

The writing is only occasionally clear and focused. Ideas and content are underdeveloped.

The writing is generally unclear and unfocused. Ideas and content are not developed or connected.

Organization The writer’s control over organization and the connections between ideas move the reader smoothly and naturally through the text.

The writer’s control over organization and the connections between ideas effectively move the reader through the text.

The response is generally coherent, and its organization is functional.

There may be evidence of an organizational structure, but it may be artificial or ineffective.

There may be little evidence of organizational structure.

There may be no noticeable organizational structure.

Style and Voice The writer shows a mature command of language including precise word choice that results in a compelling piece of writing.

The writer shows a command of language including precise word choice.

The writer’s command of language, including word choice, supports meaning.

Vocabulary may be basic.

Vocabulary may be limited.

Conventions Tight control over language use and mastery of writing conventions contribute to the effect of the response.

The language is well controlled, and occasional lapses in writing conventions are hardly noticeable.

Lapses in writing conventions are not distracting.

Incomplete mastery of over writing conventions and language use may interfere with meaning some of the time.

Limited control over writing conventions may make the writing difficult to understand.

Lack of control over writing conventions may make the writing difficult to understand.

Not ratable if: a) off topic b) illegible c) written in language other than English d) blank/refused to respond


Appendix #4b

Elements of Story Template The elements of a story include: • Characters - Who is in the story? • Setting - When and where does the story take place? • Problem - What problem does the main character have or what does

the main character want? • Events - What does the main character do to solve his/her problem or

get what he/she wants? • Resolution - How is the problem solved? OR How does the main

character learn to deal with the problem? • Themes (Moral) - What is the lesson the author is trying to teach?


Appendix #5

Fable: “The Hippopotamus at Dinner” The Hippopotamus went to a restaurant. He sat at his favorite table. “Waiter,” called the Hippopotamus. “I will have the bean soup, the Brussels sprouts, and the mashed potatoes. Please hurry. I am enormously hungry tonight.” In a short while, the waiter returned with the order. The Hippopotamus glared down at this plate. “Waiter,” he said “Do you call this a meal? hese portions are much too small. They would not satisfy me. I want a bathtub of bean soup, a bucket of Brussels sprouts, and a mountain of mashed potatoes. I tell you I have an APPETITE.” The waiter went back into the kitchen. He returned carrying enough bean soup to fill a bathtub, enough Brussels sprouts to fill a bucket, and a mountain of mashed potatoes. In no time, the Hippopotamus had eaten every last morsel. “Delicious” said the Hippopotamus, as he dabbed his mouth with a napkin and prepared to leave. To his surprise, he could not move. His stomach which had grown considerably larger, was caught between the table and the chair. He pulled and tugged, but it was no use. He could not budge. The hour grew late. The other customers in the restaurant finished their dinners and left. The cooks tool off their aprons, and put away their pots. The waiters cleaned the dishes and turned out the lights. They all went home. The Hippopotamus remained there, sitting forlornly at the table. “Perhaps I should not have eaten quite so many Brussels sprouts,” he said, as he gazed into the gloom of the darkened restaurant. Occasionally he burped. Moral:


Appendix #6a

Fable: “The Hippopotamus at Dinner” The Hippopotamus went to a restaurant. He sat at his favorite table. “Waiter,” called the Hippopotamus. “I will have the bean soup, the Brussels sprouts, and the mashed potatoes. Please hurry. I am enormously hungry tonight.” In a short while, the waiter returned with the order. The Hippopotamus glared down at this plate. “Waiter,” he said “Do you call this a meal? These portions are much too small. They would not satisfy me. I want a bathtub of bean soup, a bucket of Brussels sprouts, and a mountain of mashed potatoes. I tell you I have an APPETITE.” The waiter went back into the kitchen. He returned carrying enough bean soup to fill a bathtub, enough Brussels sprouts to fill a bucket, and a mountain of mashed potatoes. In no time, the Hippopotamus had eaten every last morsel. “Delicious” said the Hippopotamus, as he dabbed his mouth with a napkin and prepared to leave. To his surprise, he could not move. His stomach which had grown considerably larger, was caught between the table and the chair. He pulled and tugged, but it was no use. He could not budge. The hour grew late. The other customers in the restaurant finished their dinners and left. The cooks tool off their aprons, and put away their pots. The waiters cleaned the dishes and turned out the lights. They all went home. The Hippopotamus remained there, sitting forlornly at the table. “Perhaps I should not have eaten quite so many Brussels sprouts,” he said, as he gazed into the gloom of the darkened restaurant. Occasionally he burped. Moral: Too much of anything often leaves one with a feeling of regret.


Appendix #6b

Listening/Retelling Procedures: Instructional Please read instructions and follow the procedure carefully. 1. Teacher reads title of selection and says, “I wonder what this will be about?” 2. Teacher asks students, “What do you think this will be about?” 3. Teacher directs students to write/draw a prediction on the flap of the selection or on another

sheet of paper – “What will the selection be about?” 3a. Teacher says, “Share your prediction with your partner.”

4. Teacher says,

“Listen to understand the information. I will read the story/selection twice and then you will write a retelling to someone who has never heard the story/information before”

and then teacher reads selection aloud. 5. Teacher reads aloud the selection saying,

“Listen one more time so that you can retell the selection. You will be asked to retell the selection as if it is for someone who has not heard this information (story) before.”

5a. Teacher says,

“Share your retelling with your partner. One of you do your retelling orally, then the other retells.”

6. Teacher says,

Retell the selection as if it is for someone who has not heard this story/information before.”

6a. Teacher says, “Share your written retelling with your partner and make changes (revise).” 6b. Teacher gives students selection and says, reread the selection and with your partners,

make whatever changes or additions that are necessary. 7. Instead of teacher collecting papers, have students in partners score their own papers with

the rubric or a modified rubric (after extensive modeling).

adapted by Barbara Nelson from Cambourne and Brown, Read and Retell


Appendix #7a

Model Retelling: “The Hippopotamus at Dinner” By Arnold Lobel

A hungry hippopotamus went to a restaurant for dinner and ordered a meal of bean soup, Brussels sprouts and potatoes telling the waiter that he is enormously hungry. When the waiter brings the food, the hippopotamus sends it back because it is not enough. The waiter brings back very large portions, and the hippopotamus eats everything. When the hippopotamus tries to get up to leave, he is stuck at the table. The hippopotamus decides that maybe he ate too many Brussels sprouts. Really, he ate too much of everything. He should have learned the lesson not to overdo.


Appendix #7b

MLPP Retelling Rubric Grades 3 - 12 Narrative Text

Qualities of

Retelling

4

Mature

3

Capable

2

Developing

1

Beginning Gist/Main Idea:

$ Lesson Learned $ Plot Main Idea

Retelling includes a clear generalization that states or implies the plot main idea and lesson learned.

Retelling includes a generalization that states or implies the plot main idea and lesson learned from the story.

Retelling indicates inaccurate or incomplete understanding of plot main idea.

Retelling includes minimal or no reference to or understanding of plot main idea.

Story Elements

Retelling contains a clear statement of all story elements, (main characters, setting, problem, major events, and resolution) and their connection to one another.

Retelling contains a clear restatement of most story elements (main characters, setting, problem, major events, and resolution) and their connection to one another.

Retelling contains a restatement of some story elements with minimal connections to one another.

Retelling contains minimal restatement of story elements.

Organization

Events are retold following a logical sequence with a beginning, middle, and end.

Events are retold mostly in appropriate order with beginning, middle, and end.

Events are retold in a somewhat disconnected fashion. The beginning or middle or the end may be deleted.

Events lack sequence.

Linguistic Spillover

Use of language, conventions, and/or format from the selection reflects an elaborated and personalized understanding of the story.

Use of language, conventions, and/or format from the selection indicates basic understanding of the story.

Use of language, conventions, and/or format from the selection may indicate superficial understanding.

Retelling includes little or no use of language, conventions, and/or format from the story.

Date Text Level Mode Prediction Gist/

Main Idea Elements Organization Linguistic Spillover

Key: Mode O/O: Oral – Oral Level IN – independent Prediction R – reasonable O/W: Oral – Written IS – instructional U - unreasonable W/O: Written – Oral F – frustration N – no response W/W: Written – Written


Appendix #7c

Think Aloud Procedure Making Thinking Public

The Literacy Dictionary (Harris and Hodges, 1995, IRA) defines a think aloud as “1. oral verbalization, 2. in literacy instruction - a metacognitive technique or strategy in which the teacher verbalizes aloud while reading a selection orally, thus modeling the process of comprehension (Davey, 1983).” Put another way, a think aloud is making thinking public. A teacher models what an expert would be thinking as s/he were reading, visualizing, listening; or preparing to write, speak or visually represent. The goal of thinking aloud is to graphically show students what they might do to understand what they are reading, viewing or listening to, as well as, plan for writing or speaking. Following is an example of a think aloud for figuring out the meaning of an unfamiliar word in context: “It’s important while we read to be able to figure out the meaning of an unfamiliar word. When I come to a word I don’t know the meaning of, I read the words and sentences around that word to try to figure out what the word might mean. The other day I was reading this great mystery, The Westing Game by Ellen Raskin. I read the following paragraph with lots of challenging words: ‘Sam Westing was not murdered, but one of his heirs was guilty – guilty of some offense against a relentless man. And that heir was in danger. From his grave Westing would stalk his enemy and through his heirs he would wreak his revenge.’ It was a paragraph about Sam Westing who had just died and left a challenge behind to find his killer(s). I knew most of the words. I knew ‘relentless’ meant that Sam Westing never gave up until he got what he wanted. I knew that ‘stalk his enemy’ meant that even after death, Sam Westing would somehow go after and find his enemy. But I wasn’t sure what ‘wreak his revenge’ meant. I knew that revenge meant Sam Westing would get even with his enemy, so I figured that “wreak” must be a stronger way to say, ‘get his revenge.’ I’ve heard the word ‘wreak’ before, and now I’ll keep it in my mind and may be able to use it in writing sometime. I will know it when I see it in print”.


Appendix #8

Genre: Fable

Fable Definition:• A short tale in prose or verse that teaches a moral, usually with animals and

inanimate objects as characters (from Harris, et al. The Literacy Dictionary, IRA, 1995)

• A short and fairly simple didactic story in prose or verse, usually with animal characters acting as humans (Margaret Mooney. Text Forms and Features, Richard C. Owen, 2001.)

Purpose:• To teach a moral lesson Form: • A short, simple prose or verse story that usually has talking animals as

characters and ends with a lesson or moral Features: • Characters are given impersonal names like frog, fox, owl, boy, girl. • Characters represent or show how we act as human beings, e.g. lambs as

innocent, cats as curious, owls as wise, foxes as sly, etc. • Animal characters act like human beings. Human faults are emphasized. • Usually a small number of characters, 1 – 3 • Usually just one incident • Some time there is trickery. • Plot is usually a person-against-person (animal-against-animal) conflict. The

conflict is connected to the moral. • Ends with an abstract truth (moral) expressed in very few words (making it

complex)


Appendix #9a

Fable Bookmark Fable Bookmark Fable Bookmark

A short story with a moral A short story with a moral A short story with a moral Name:

Name:

Name:

Title: Title: Title: Answer questions and write a brief reminder of the genre characteristics you find as you read.

Answer questions and write a brief reminder of the genre characteristics you find as you read.

Answer questions and write a brief reminder of the genre characteristics you find as you read.

Characters are animals acting like people. Characters are animals acting like people. Characters are animals acting like people.

A short tale, one incident – Summarize the incident. A short tale, one incident – Summarize the incident. A short tale, one incident – Summarize the incident.

A moral/lesson – Put the moral in your own words. A moral/lesson – Put the moral in your own words. A moral/lesson – Put the moral in your own words.

Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved.


Blank Fable Map Appendix #10a


Moral:

Character: Character:

Dialogue (or action):

Event:

Dialogue (or action):

Problem:

Trait or Characteristic: Trait or Characteristic:

Fable Map for “The Hippopotamus at Dinner”

Appendix #10b


Moral: Too much of anything often leaves one with a feeling of regret.

Trait or Characteristic: Trying to please

Trait or Characteristic: Impatient, angry

Problem: Hippopotamus is hungry and impatient to get his food.

Dialogue (or action): “I am enormously hungry tonight.” “I want a bathtub of bean soup, a bucket of Brussels sprouts, and a mountain of mashed potatoes.”

Event: Hippopotamus eats so much that he cannot get up from the table.

Dialogue (or action): “Perhaps I should not have eaten quite so many Brussels sprouts.”

Character: Waiter

Character: Hippopotamus

Genre: Folktale

Folktales are stories that have been told and passed along by word of mouth then sometimes written down. Definition:• A narrative form, as an epic, legend, myth, fable, etc., that is or has been retold

within a culture for generations and is well known through repeated storytelling (from Harris, et al. The Literacy Dictionary, IRA, 1995)

• Folktales include “the body of ancient stories and poems that grew out of the human quest to understand the natural and spiritual worlds” (Tomlinson and Lynch-Brown (1996) from Kathleen Buss and Lee Karnowski. Reading and Writing Literary Genres, IRA, 2000)

• Forms of narrative that have been handed down, usually orally, including epic, fairy tale, ballad, myth, legend, fable, tall tale, ghost story, etc. (from Margaret Mooney, Text Forms and Features, Richard C. Owen, 2001)

Purpose:• To tell an interesting story • To reveal human nature (how people are and act) • To teach values, practices and cultural beliefs • To encourage readers’/listeners’ imaginations • To show how humans are alike in important ways (universal human qualities) Form: • Folktales have story elements: characters in settings with problems, attempts to

solve problems (events), resolution and lesson(s) (themes). Features: • Usually short • Almost always end happily • The “underdog” usually triumphs or good overcomes evil. • Wishes come true as the result of a struggle or test. • The setting emphasizes a culture or a country.


• Characters (people, animals, or nature) are flat or not developed (not needing a lot of explanation). The main character will change by the end of the story.

• There are sometimes one or more of five common motifs: magical powers, transformations, magical objects, wishes, and trickery.

• The plot is not developed but linear, revolving around the character’s actions to solve the problem.

Appendix #11a

Folktale Bookmark Folktale Bookmark Folktale Bookmark Stories passed along by word of mouth Stories passed along by word of mouth Stories passed along by word of mouth

Name:

Name:

Name:

Title: Title: Title: List the page number and a brief reminder of the genre characteristics you find as you read.

List the page number and a brief reminder of the genre characteristics you find as you read.

List the page number and a brief reminder of the genre characteristics you find as you read.

Shows how humans are and how they act. Shows how humans are and how they act. Shows how humans are and how they act.

p. p. p.

p. p. p.

p. p. p.

p. p. p.

Good overcomes evil. Summarize the events: Good overcomes evil. Summarize the events: Good overcomes evil. Summarize the events:

Magical powers, trickery, wishes, transformations Magical powers, trickery, wishes, transformations Magical powers, trickery, wishes, transformations

p. p. p.

p. p. p.

p. p. p.

p. p. p.


Appendix #11bMC3 #3 Appendix © Macomb Intermediate School District 2006


Narrative Profundity Chart

Physical: What did the character do? (Action)

Mental: What was the character thinking or feeling when s/he did it? (Intention)

Moral: What was right and wrong with what the character did? (Judgment)

Psychological: What did the character get from doing what s/he did? (Benefit)

Analogical: What links are there to me, to what I have read and to my world? (Comparison)

Philosophical: What is the lesson or principle that I can learn from this story? (Abstraction)

Transformational: How can this lesson, insight, or wisdom change my life? (Transformation)

From Beals, Nelson and Weber, adapted 7/20/05 Appendix #12a


Narrative Profundity Chart for Hansel and Gretel by James Marshall

Physical: What did the character(s) do? (Hansel and Gretel) (Action)

Mental: What was the character thinking or feeling when s/he did it? (Intention)

Moral: What was right and wrong with what the character did? (Judgment)

Psychological: What did the character get from doing what s/he did? (Benefit)

Analogical: What links are there to me, to what I have read and to my world? (Comparison)

Philosophical: What is the lesson or principle that I can learn from this story? (Abstraction)

Transformational: How can this lesson, insight, or wisdom change my life? (Transformation)

Hansel drops white pebbles so he can bring his sister and himself home.

Hansel wanted to take care of his sister and himself and return home safely.

Leaving pebbles was the only way to find their way home, but it was against the step- mother’s wishes.

Hansel was proud of his quick thinking, and they were able to come home to the father they loved.

Hansel sticks out a chicken bone to fool the witch.

Hansel wanted to fool the witch into believing he was still too scrawny to eat.

Hansel was right to protect himself by fooling her with an old chicken bone, but it was fooling an adult.

Hansel was proud of his trickery, and he was able to stay alive a little longer.

Gretel pushes the witch into the oven to save her brother and herself.

Gretel wanted to help her brother and herself escape from the witch.

Gretel was right to save herself and her brother by pushing the witch into the oven, but it was murder.

Gretel was proud of her quick thinking, and the two of them won over the witch who was trying to eat them.

Text to Self: “My sister and I try to solve problems together.” Text to Text: “Another story with a character who used his brains to win over a stronger person is Jack and the Beanstalk.” Text to World: “There are things happening in the world that are similar to those in the story, like homeless families going hungry.”

We can take care of ourselves: - brain over brawn - Stranger Danger - Good triumphs

over evil.

- “I won’t panic when I am in trouble, I’ll think.”

- “I’ll try to get

myself out of the situation instead of just sitting and waiting for help.”

- “I’ll try to take

care of my family and friends.”

From Beals, Nelson and Weber, adapted 7/20/05

Appendix #12b

Dialogue Strips

“What a clever little sister I have.” “Save it for lunch; it’s all you get.”

“Phooey, not yet!” “Don’t worry, I’ll take care of us.”

“Hmmmm.” “Time for sleep.”

“I don’t know how.” “I’ll just have to eat you as you are.”

“You let my brother out!” “Up, you lazy bones!”

“Nibble, nibble little mousie. Who’s that nibbling on my housie?”

“Lovely! Lovely! This is where I shall fatten you up. And when you’re all plump and juicy, I shall have a regular feast!”

“Why are you lagging behind, Hansel?

“What a clever brother I have.”

“There’s hardly enough for the two of us to eat.”

“Not again.”

“We’ll simply have to take the children back to the woods.”

“I know what’s best, you dolt!”

“She’s nice.” “Now don’t be alarmed my angels.

I’m really very sweet.”


Appendix #13a

“Do you want your pretty little

wife to waste away?”

“Yes, my dearest.”

“Never!” “She doesn’t like us.”

“Those wretched children of yours are gobbling everything up.”

“Are you frightened?”

“I’m looking back at my white kitten on the roof.”

“Of course not.”

“Let’s follow it.” “My poor children.”

“We’ll never get out.” “We thought you were never coming back!”

“Why are you tarrying, Hansel?”


Appendix #13b

How Well Do I Know These Words? Title: Directions: First, read the words at the bottom of the page silently. After you read each one, write the words from the bottom of this page in the column that best describes what you know about each one. When you have completed the chart, choose two words from the first or second column to research in the dictionary. Don’t know at all Have seen or

heard – don’t know meaning

I think I know the meaning

I know a meaning

vast p. 1, famine p. 2, wretched p. 2, ferocious p. 2, badgered p. 5, dolt p. 6, infuriated p. 11, tarrying p. 13, forbidding p. 15, shrill p. 17, sumptuous p. 20, scrawny p. 25, consoling p. 25, sufficiently p. 25, horrid p. 27, clever p. 27, ferry p. 28 Adapted from Janet Allen, Words, Words, Words. 1999 Stenhouse Publishers.

Appendix #14


Hansel and Gretel Rap Once upon a time in a nursery rhyme, Hansel and Gretel took a walk in the wood, A house made of candy before them stood. Nibble, Nibble Little Mouse, Who’s that nibbling on my house? Cookies and candy, sugar and cake, A house so beautiful it made them shake. Nibble, Nibble Little Mouse, Who’s that nibbling on my house? The hungry kids began to eat, Munching and crunching the house so sweet. Nibble, Nibble Little Mouse, Who’s that nibbling on my house? Out came the witch, mean and old. She locked Hansel up in a cage so cold. Nibble, Nibble Little Mouse. Who’s that nibbling on my house? Into the oven the witch they threw, Roasted and toasted and crispy too. Nibble, Nibble Little Mouse, Who’s that nibbling on my house? Home to Dad on a bird they flew, Happy Ever After … Good as New.


Appendix #15a

The Three Bears Rap

Traditional Once upon a time in a nursery rhyme there were three bears. (click, click, click) A Papa bear, a Mama bear and a wee bear, (click, click, click) One day, they went out walking and a-talking in the woods. (click, click, click) Along came a girl with long, curly hair. (click, click, click) "Someone's been sitting in my chair," said the Papa bear. "Someone's been sitting in my chair," said the Mama bear. "Hey, Mama She Bear," said the little wee bear, "Someone has broken my chair." YEAH!! "Someone's been tasting my porridge," said the Papa bear. "Someone's been tasting my porridge," said the Mama bear. "Hey, Mama She Bear," said the little wee bear, "Someone has eaten my porridge." YEAH !! "Someone's been sitting on my bed," said the Papa bear. "Someone's been sitting on my bed," said the Mama bear. "Hey, Mama She Bear," said the little wee bear, "Someone is here in my bed." YEAH!! Goldilocks woke up and broke up the party. (click, click, click) "Bye, bye, bye, bye, bye, bye, bye," said the Papa bear. (wave hand) "Bye, bye, bye, bye, bye, bye, bye," said the Mama bear. (wave other hand) "Hey, Mama She Bear," said the little wee bear, "Bye, bye, bye, bye, bye, bye, bye." (wave both hands) YEAH!! (Directions: clap intervening beat, click fingers on word 'click' or say "Ch", and arms wide on YEAH!!)


Appendix #15b

The Three Little Pigs Rap In a forest far away at Mama Piggy’s house, lived three little pigs with very hungry mouths. Money was a problem and mama couldn’t pay, so she sent the little piggies out and on their way. So sad, so sad, Mama felt real bad. The piggies were afraid and sought a place to stay, cause the big, bad world was hard to keep away. The first little piggy rounded up a bunch of hay and he built his flimsy house in less than half a day. Good job, good job, he thought he was real cool. Real cool, real cool but he really was a fool. The wolf came huffin’ and puffin’ to blow the house down, he had that pig for lunch and that was no ground round. The second pig found sticks to build his house anew, this would provide support, for sticks were strong he knew. So smart, so smart, this pig thought he was smart. So smart, so smart, soon to be part of the meat mart. The wolf took in a breath and huffed and puffed a little, soon the pig was dead because his house it was too brittle. So the third piggy had his work cut out for him, but he found some bricks to use and his future was not so dim. Hurray, hurray, this pig he used his brain. Hurray, hurray, but the wolf was such a pain. Again came the wolf his breath which smelled of pork a huffin’ and a puffin’ but this pig he was no dork. The wolf tried many tricks to have this pig to eat, but the pig he tricked the wolf and Wolf became dead meat.


Dead meat, dead meat, oh the wolf was such a pain. But the third little piggy, now, he used his brain. Appendix #15c

Hansel and Gretel Reader’s Theatre Narrator: Once upon a time in a cottage near a vast forest there lived a poor

woodcutter, his wife and his two children. The boy was called Hansel, and the girl Gretel. At the best of times the family had precious little to live on. But now there was a great famine in the land, and food was scarcer than ever. The woodcutter’s wife was worried there wouldn’t be enough for her.

Woodcutter’s wife: Those wretched children of yours are gobbling everything up. Do you want your pretty little wife to waste away? Something will have to be done.

Woodcutter: Yes, my dearest.

Gretel: She doesn’t like us.

Hansel: Yes she does.

Narrator: One night when the woodcutter was tossing and turning and worrying about how to feed his family, his wife revealed a plan.

Woodcutter’s wife: (whispering)

Listen to this. We will take the children into the woods, give them a bit of bread, and leave them there.

Woodcutter: Never! My poor children!

Woodcutter’s wife: I know what’s best, you dolt!

Gretel: Oh dear!

Hansel: Don’t worry. I’ll take care of us.

And slipping into the moonlit night, he gathered up as many white pebbles as he could find.

Gretel: What are you doing?

Hansel: You’ll see.


Appendix #16a

Woodcutter’s wife: Up, you lazybones! It’s time to go to the forest to fetch wood. Save the bread I just gave you for lunch; it’s all you’ll get.

Narrator: The family set off. In a short while Hansel stopped and turned around. Soon he did it again.

Woodcutter: Why are you lagging behind, Hansel?

Hansel: I’m looking back at my white kitten on the roof.

Woodcutter’s wife: You donkey! That’s not your kitten, that’s the morning sun on the chimney.

Narrator: They entered the vast forest. In the middle of the forest Hansel and Gretel were told to build a fire of brushwood and to wait.

Woodcutter’s wife: We’ll return soon.

Narrator: And the children were left all alone. They heard the sound of an axe chopping wood, and they thought their father must be nearby. But it was really a bough he had tied to a dead tree being blown about the by wind. At midday, they ate their bread and waited patiently. The afternoon slowly passed, but no one came. Finally the children closed their eyes and went to sleep. When they awoke it was pitch black.

Gretel: Are you frightened?

Hansel: Of course not.

Narrator: When the moon had risen, Hansel took Gretel by the hand and showed her how they could follow the trail of white pebbles.

Gretel: What a clever brother I have!

Narrator: It took them the rest of the night to get out of the forest. When the children arrived home at daybreak, the woodcutter’s wife was shocked and infuriated, although she quickly pretended to be glad to see them.


Appendix #16b

We thought you were never coming back! Woodcutter’s wife:

Narrator: Hansel and Gretel believed the worst to be over. But soon there came another famine, and the woodcutter’s wife began to fret.

Woodcutter’s wife: (to her husband)

There’s hardly enough for the two of us to eat. We’ll simply have to take the children back to the woods.

Gretel: Not again.

Hansel: Don’t worry.

Narrator: But when he went to gather more pebbles, he found the door bolted – she had seen to that. The next morning the children were given a bit of bread, and the family set off. Every few paces Hansel turned around to strew a handful of breadcrumbs behind him.

Woodcutter: Why are you tarrying, Hansel?

Hansel: I’m looking back at my white pigeon on the roof.

Woodcutter’s wife: Simpleton! That isn’t your pigeon, that’s the morning sun on the chimney.

Narrator: When they came to the most forbidding part of the forest, the woodcutter’s wife said:

Woodcutter’s wife: You will wait here while your father and I gather wood. We will be back soon.

Narrator: Hansel and Gretel did not believe her. At midday Gretel shared her bread with Hansel. Soon, as they did before, they fell asleep. And when they awoke, it was pitch black.


Gretel: Oooh.

Appendix #16c

Hansel: When the moon rises we will follow the trail of breadcrumbs out of the

woods.

Narrator: But when the moon rose, they found no breadcrumbs. The birds in the forest had eaten them all.

Gretel: We’ll never get out!

Narrator: They wandered on, deeper and deeper into the forest, eating whatever berries they could find. When they’d been away from home for three days, a snow-white bird appeared.

Hansel: Let’s follow it.

Narrator: The snow-white bird led them to a clearing where there was a small house made of cookies and candy, spun sugar and cake. It was like no house they’d ever seen. Being terribly hungry, the children set about having a regular feast. Hansel broke off a piece of roof cake, and Gretel tried a bit of window sugar. It was all as good as it looked. Suddenly they heard a shrill voice from inside.

Witch: Nibble, nibble, little mousie. Who’s that nibbling on my housie?

The door flew open.

Witch: What’s this? Two tasty-uh-pretty children have come to stay. Now don’t be alarmed, my angels, I’m really very sweet.

Narrator: And she took Hansel and Gretel by the hand and led them inside, where a sumptuous dinner of sugared pancakes with apples and nuts had been prepared.

Witch: Time for sleep now.

And she tucked them into snug warm beds and tiptoed away.


Hansel: She’s nice.

Appendix #16d

Gretel: Hmmm.

Narrator: The next morning the lady, who was indeed a witch, snatched Hansel

from his bed, carried him outside, and tossed him right into a cage.

Witch: Lovely! Lovely! This is where I shall fatten you up. And when you’re all plump and juicy, I shall have a regular feast!

Gretel: You let him out!

Narrator: But the witch, who was delighted with her handiwork, only cackled and did a little dance. Poor Gretel, who had to do the witch’s bidding, was put to work cooking enormous meals for Hansel. For her own dinner, Gretel was given only crab shells. Every morning the witch would go to Hansel’s cage to see how much fatter he’d grown.

Witch: Hansel, stick out your finger.

Narrator: And Hansel would stick out an old chicken bone. (Witches, as everyone knows, have beady red eyes and dreadfully bad eyesight.)

Witch: I simply don’t understand it. You’re as thin as a bone – can’t eat you yet.

Narrator: Now Hansel’s little trick worked for some time. Every morning the hungry witch was annoyed to find him still so scrawny.

Witch: Phooey! Not yet!

Narrator: But finally she had run completely out of patience.

Witch: I’ll just have to eat you as you are.

Narrator: And she had a consoling thought. Perhaps she should eat the little one too.

Witch: Gretel, dear, would you please peek into the oven to see if it is sufficiently hot?


Narrator: But Gretel saw what she had in mind.

Appendix #16e

Gretel: (stupidly) I don’t know how to.

Witch: Goose! I’ll show you.

Narrator: Really, there was only one thing for Gretel to do. She gave the witch a

tremendous shove. The horrid witch roasted to a regular crisp.

Gretel: We’re free. The witch is dead.

Narrator: Hansel flew out of the cage like a bird.

Hansel: What a clever sister I have!

Narrator: Together they explored the witch’s house, where they found boxes and boxes of precious gems and gold coins.

Hansel: Better than pebbles! But now it is time to leave the witch’s wood.

Narrator: When they had wandered about for some time, they came to a wide lake. A kindly duck offered to ferry them across. As they neared the opposite shore, Gretel was sure they could see their father’s house in the distance. When the children reached home, their father welcomed them with open arms, for he loved them dearly and had been miserable without them. He told them his wife had died. Whether Hansel and Gretel were sorry is difficult to say. But with their father they lived happily ever after.


Appendix #16f

Vocabulary In Context Strategy Learning vocabulary in context is much more powerful and effective. Students understand the words better, will remember them, and will more often recognize the word and its meaning when next encountered. This is a simple vocabulary strategy that only involves dictionary work as a last resort. Procedures: • Assign or let students choose partners. • Display the vocabulary words with page numbers. • Tell students in partners to:

1. find each listed word, 2. read the sentences (context) around the word, then try to

figure out what the word means, 3. check their definitions with the dictionary (if necessary), 4. jot down their “working definition” in their own words, and 5. also write down why this word is important to the selection. Encourage students to begin to keep a personal dictionary of new words that they might use in conversation and in writing.


Appendix #17

Theme/Lesson Chart

• Flattery will get you nowhere. • Don’t be so vain. • Believe in yourself. • Believe in what you think is right. • Don’t be afraid to tell the truth. • Don’t worry about what others think of you. • A true friend should speak the truth. • Young children often unknowingly speak the truth.


Appendix #18

The Emperor’s New Clothes Story Theater Characters/Props • Narrator(s) (More than one may be selected) • Emperor (fancy outer garment or make a cloak out of fabric or paper, staff or cane,

sash or belt, hand mirror, underwear garments) • Weaver # 1 (wearing hat and scissors hanging from his belt) • Weaver # 2 (wearing hat and holding pin cushion or other sewing materials) • Townspeople • Old Minister (holding eyeglasses on a stem) • Two Footmen (wearing sash across body) • Servants (holding a canopy made from four wrapping paper rolls and colorful fabric

or paper top with decorative streamers) • Child Additional Props • Pictures or flag with Emperor’s Picture displayed • Colorful cloth • Precious stones • Gold • Thread • Full-length mirror Speaking Lines and Choral Reading: Opening Scene Narrator: Once upon a time there was a vain emperor who loved beautiful

clothes more than anything else. He spent most of his money buying the newest and most fabulous clothes he could find, and he had a different outfit for each hour of the day. One day two tricksters appeared in the town where the emperor lived.

Weaver #1: We are weavers, and we can weave the most magnificent cloth you have ever seen.

Weaver #2: Our cloth is truly remarkable for it is invisible to stupid people or those who are not good at their jobs.

Appendix #19a


Second Scene: Weavers’ Workshop Emperor (handing them the gold):

What splendid clothes could be made from that cloth! Why with such cloth I could see at once who is not good at his job and who is clever and who is stupid.

Weaver #1 and #2:

We demand silk and special thread and precious stones to weave the Emperor’s new clothes.

Third Scene: Emperor’s Bedroom Emperor: I would like to know what the cloth looks like, But suppose

I could not see it at all? That would mean I was stupid or not a good Emperor! No, First I will send my trusted Old Minister. He will tell me how the work is progressing.

Fourth Scene: Weavers’ Workshop Weaver #1: Step closer, Minister, sir!

Weaver #2: See how beautiful the cloth is!

Old Minister (Quietly whispers to the audience):

Good heavens! Am I stupid? Or am I not a good minister? No one must ever hear of this!

Weavers #1 and #2:

Well, how do you like it?

Old Minister: Oh, it is superb, quite lovely, I will report to the emperor that I am very pleased with it.

Weavers #1 and #2 (Minister hands them what they want and leaves the room. The weavers pocket their treasures.):

We demand more silk, gold, and precious stones for the emperor’s new clothes.


Narrator: Soon the emperor sent his most loyal footman to check on the weavers’ progress.

Appendix #19b

Footman (Quietly whispers to audience):

All I see are two empty looms. Does this mean I am stupid or not a good footman? I must not let anyone find out!

(Spoken to Weavers):

The cloth is truly beautiful. I will tell the emperor it is splendid.

Fifth Scene: Emperors’ gathering Narrator: The emperor was so curious to see the fabulous cloth he chose some

of the most clever people in his court to see it with him.

Choral reading: See your Majesty, isn’t it gorgeous?

Emperor (Quietly whispers to audience): (Speaks to the Weavers):

What’s this I see nothing at all! Does this mean I am stupid or useless as an emperor? That would be the most terrible thing that could happen to me. No one must find out! Oh, it’s very pretty. I am extremely pleased!

Choral reading: Yes, it is charming, splendid, wonderful.

Old Minister: Your Majesty, you should wear new clothes made from this magnificent cloth in the great procession.

Emperor: (Speaks to the Weavers):

Yes, I agree. Will you make a ceremonial outfit from the cloth for me?

Narrator: The weavers worked day and night. They snipped away with large scissors, they sewed with needles without any thread.

Weaver #1 and #2:

The emperor’s new clothes are ready!

Sixth Scene: Emperor’s Dressing Room Weaver #1: Here are the trousers! Here is the jacket! Just look at this cloak!

Weaver #2: All the clothes are as light as spiders’ webs. You will feel as if you

had nothing on at all, but that is what is so special about them.


Appendix #19c

Narrator: In front of the mirror the emperor acts as if he’s admiring his new

clothes while the weavers pretend to dress him.

Choral reading: Oh, what a truly magnificent suit!

Seventh Scene: The Procession Narrator: At last the emperor was ready. The footmen held out their arms

stiffly in front of them as if they were carrying the emperor’s train. The emperor strode out of the castle gate proudly. Servants waited there with the canopy. The procession began as the emperor marched down the streets in his underwear.

Choral reading: Oh, just look at those wonderful clothes!

Closing Scene Child: But the emperor has nothing on at all!

Choral reading (Everyone laughs):

Did you hear that? The child is telling the truth. The emperor has nothing on at all! He has nothing on at all!

Narrator: The emperor was very embarrassed for he knew that they were right. He grimly continued strutting through the town and his servants went on carrying the train that was not there. The two weavers hurried off with the foolish emperor’s gold and were never seen again.


Appendix #19d

Sparkle Words

Sparkle words are those words an author carefully selects to use in his or her written piece to help the reader visualize and understand what he/she is really trying to say – to “see” what s/he means. Non-example: An emperor liked clothes. He bought a lot of

them and wore them often. Example: Once upon a time there was a vain emperor

who loved beautiful clothes more than anything else. He spent most of his money buying the newest and most fabulous clothes he could find, and he had a different outfit for each hour of the day. (Taken from The Emperor's New Clothes)


Appendix #20

The Principal’s New Clothes Reader’s Theater Characters: Narrator 1 Ivy Narrator 2 Moe Narrator 3 Student 1, 2 Narrator 4 Ms. Moore Mr. Bundy Roger Alice Narrator 1 Mr. Bundy is the principal of P.S. 88.

He is also the sharpest dresser in town.

Narrator 2: His students never miss a day of school. They like to see what he is wearing.

Students 1 and 2: Looking good, Mr. B!

Narrator 3: They always say this.

Narrator 4: Mr. Bundy has so many clothes, he can go a whole month and not wear the same suit twice. Sometimes he changes at lunchtime, just to show off.

Narrator 1: One day a man and a woman who said they were tailors, called on Mr. Bundy. Their card said:

Moe and Ivy We make a suit that suits you fine.

But they were not really tailors. They were tricksters.

Ivy: Greetings, Mr. B. How would you like to buy an amazing, one-of-a-kind suit?

Mr. Bundy: I have so many suits already.

Moe:


Ah, but this is no ordinary suit. It has special powers.

Appendix #21a

Narrator 2: Moe looked to his left. He looked to his right.

Then he whispered in Mr. Bundy’s ear,

Moe: We make our clothes from special cloth. It is invisible to anyone who is no good at his job or just plain stupid.

Mr. Bundy: Really?

Ivy: Yes. Not only will you look great, but you can find out if anyone in your school is no good at his job or is stupid.

Mr. Bundy: This is amazing!

Ivy: Now if you’ll take off your jacket and lift up your arms, sir, we will take your measurements,

Moe (mumbling): We will also take your money,

Narrator 3: The next day, Moe and Ivy set up a workshop in the gym. It was not long before the whole school heard about the amazing cloth and wanted to see it. Students asked to be excused to get a drink of water. Then they ran to the gym to peek. Teachers said they were going next door to borrow chalk. Then they ran to the gym too, but no one could see a thing.

Narrator 4: By the end of the week, Mr. Bundy began to wonder what his new clothes looked like. But he was also a little worried. What if he could not see the cloth? So he sent his vice principal, Ms. Moore, to have a look. Ms. Moore was smart and good at her job. She would have no trouble seeing the special cloth. Ms. Moore hurried to the gym. She knocked on the door.


Ms. Moore (calling over the noise of the whirring machines):

Mr. Bundy sent me to see his new clothes.

Appendix #21b

Narrator 1: A moment later the door opened a crack and Ms. Moore slipped inside.

Moe: What do you think? Have you seen anything like it?

Narrator 2: Poor Ms. Moore! She could not see a thing.

Ms. Moore (wondering): Can it be that I am stupid, or unfit for my job?

Ms. Moore: I’ve tried too hard to be a good vice principal.

Narrator 4: She took off her glasses, wiped them, and looked again. But it was no use. Ms. Moore had to think fast. If she told the truth, she might get fired.

Ms. Moore: It’s … it’s beautiful. I’m going to tell Mr. Bundy right now how much I like his new clothes.

Ms. Moore (to Mr. Bundy):

Your suit is great! I’ve never seen anything like it. And now I’ve got to run and make a phone call. ‘Bye!

Narrator 3: She hurried off before Mr. Bundy could ask any questions. Now Mr. Bundy was more curious than ever.

Narrator 4: Mr. Bundy stopped Roger in the hall. Roger was one of the smartest students in the school. If he couldn’t see the suit, nobody could.

Mr. Bundy: Say, Roger, do me a favor and find out how my new suit is coming along.

Roger (not believing his ears and racing off to the gym):

Wow! I’ll be the first one to see the principal’s new clothes! Wait till the class hears about this!


Narrator 1: The door was still open, so Roger peeked inside. He could see Moe and Ivy at their sewing machines, hard at work. But he could not see the cloth!

Appendix #21c

Narrator 2: On the way back to his class, Roger poked his head into

Mr. Bundy’s office.

Roger (to himself): Stupid suit!

Mr. Bundy: What does it look like?

Roger: I can’t stop now, Mr. B. Mrs. Feeney is giving a test, and I wouldn’t want to miss it.

Narrator 3: Mr. Bundy couldn’t stand it any longer.

Mr. Bundy: I’ll have to go and see for myself.

Narrator 4: He marched down the hall and walked into the gym. Mr. Bundy looked at the empty machines. He blinked once. He blinked twice. He began to tremble.

Mr. Bundy: How can this be? Am I really no good at my job?

Ivy: Is there anything wrong?

Mr. Bundy: Oh no! The suit is … it’s … well … it’s … fantastic! I can hardly wait to try it on.

Narrator 3: Mr. Bundy handed Moe and Ivy two gold stars to show how much he liked his new suit.

Mr. Bundy: I’d like to wear the suit to the assembly tomorrow, but I guess it won’t be ready …

Moe: Yes, it will! We will work on it all night and bring it to your house in the morning.


Appendix #21d

Narrator 4: That night, Mr. Bundy dreamed cold and drafty dreams.

Early the next morning Moe and Ivy appeared, holding their empty hangers in the air. Ivy waited in the other room while Moe helped Mr. Bundy put on his new clothes.

Moe: You must be careful stepping into the pants. This cloth is very delicate.

Narrator 1: Ivy tried not to look at Mr. Bundy.

Ivy: Aren’t your new clothes light? It’s almost like having nothing on at all, isn’t it?

Narrator 2: Mr. Bundy stared at himself in the mirror. He prayed that the rest of the world was smarter and fitter than he.

Mr. Bundy: Are you coming to the assembly?

Ivy: Thanks, but no thanks. We have a bus to catch. And now, if you could pay us, we’ll just run along.

Narrator 3: Moe handed Mr. Bundy the bill. Mr. Bundy handed Moe a great deal of money.

Narrator 4: On the way to the school, Mr. Bundy’s neighbors all raved about the clothes they did not see. After all, they did not want their friends to find out that they were stupid or no good at their jobs.

Narrator 1: Mr. Bundy walked into the auditorium. As he walked down the aisle, he could hear whispers all around him. Mr. Bundy thought he must be the only stupid person in town.

Narrator 2: Suddenly, a kindergarten child called out,

Alice: The principal’s in his underwear!


Appendix #21e

Narrator 3: That did it! Everyone burst out laughing. The truth has

been told. Mr. Bundy and the teachers and students knew they had been tricked. No one had been willing to tell the truth because they were worried about what others would think of them. Mr. Bundy stood on stage, red in the face, knees shaking from the chill. But not for long.

Narrator 4: The kids and teachers wanted to help Mr. Bundy. They began passing up shirts and sweatpants, jackets and ties and caps. Soon Mr. Bundy had a new suit.

Roger: Looking good, Mr. B!

Narrator 1: Mr. Bundy called the kindergarten child up onto the stage. He shook her hand and gave her a gold star.

Mr. Bundy: Thank you for telling the truth, Alice.

Narrator 2: Everyone cheered. They knew Mr. Bundy was smart and good at his job. And they all agreed … Mr. Bundy was still the sharpest dresser in town.


Appendix #21f

Blank Venn Diagram


Appendix #22a

Venn Diagram for Emperor’s New Clothes and Principal’s New Clothes


Appendix #22b

an Emperor

Emperor’s New Clothes Principal’s New Clothes

used looms, needle and thread

two men tricksters

wore robes

paid in gold

walked in a parade

townspeople

The emperor continues in his underwear.

Both two tricksters

Both had red faces.

Both were very vain.

invisible clothes

candid children

afraid they would look stupid

Nobody wants to admit they can’t see anything.

people whispering

Tricksters rush away after they’re paid.

underwear

used sewing machines

one man/one woman trickster

wore suits

paid with money

walked into school assembly

Students/School staff

Mr. Bundy got a new outfit.

“ The Emperor’s New Clothes” Body Form


Appendix #22c

Female Form Male Form

“The Principal’s New Clothes.” Body Forms

Photocopy a picture of your principal’s head and adjust the size until it fits suitably on the body form. Reproduce for the children to create a new outfit.


Appendix #22d

The Spaghetti Nut

Eddie the spaghetti nut courted pretty Nettie Cutt. They wed and Ed and Nettie got a cottage in Connecticut. Eddie said to Nettie, “Hot spaghetti I’ve just got to get.” So Nettie put it in a pot and cooked spaghetti hot and wet. Nettie cut spaghetti up for Eddie in Connecticut. Eddie slurped it from a cup, that hot spaghetti Nettie cut.

Then Eddie, Nettie and their cat that Nettie called Spaghettipet All sat in the spaghetti vat - so much for their spaghettiquette.

By Jack Prelutsky


Appendix #23a

Spaghetti Spaghetti, spaghetti, all over the place, Up to my elbows – up to my face, Over the carpet and under the chairs, Into the hammock and wound round the stairs, Filling the bathtub and covering the desk, Making the sofa a mad mushy mess. The party is ruined, I’m terribly worried, The guests have all left (unless they’re all buried). I told them, “Bring presents.” I said, “Throw confetti.” I guess they heard wrong ‘Cause they all threw spaghetti! By Shel Silverstein


Appendix #23b

On Top of Spaghetti

On top of spaghetti, All covered with cheese, I lost my poor meatball, When somebody sneezed. It rolled off the table, And on to the floor, And then my poor meatball, Rolled out of the door. It rolled in the garden, And under a bush, And then my poor meatball, Was nothing but mush. The mush was as tasty As tasty could be, And then the next summer, It grew into a tree. The tree was all covered, All covered with moss, And on it grew meatballs, And tomato sauce. So if you eat spaghetti, All covered with cheese, Hold on to your meatball, Whenever you sneeze.


Appendix #23c

The Porridge Pot Once upon a time in a small village, there lived a little girl with her mother. Her father, a woodcutter, had just passed away. The mother and daughter were so poor that often they had to go to bed on an empty stomach. One day, they found that they had nothing left to eat. The little girl went to the forest to find some fruits. In the forest, she saw an old lady who was drowning. She saved the old lady who was very grateful to the little girl. The old lady asked her why she looked so sad. The girl replied that she was hungry and so was her mother. Unknown to her, the old lady was actually a good witch. She gave her a little magic pot. The old lady said, "With this magic pot, you will never go hungry. All you have to say is, "Cook little pot, cook," and you will have porridge. When the pot is full, you must say, "Stop little pot, stop" and it will stop cooking. The little girl thanked her and ran towards her home. She showed her mother the pot. At first her mother refused to believe her. But when the little girl said, "Cook little pot, cook,” her mother was shocked to see the pot slowly getting filled with porridge. When the pot was filled, the little girl said, "Stop little pot, stop." So the mother and daughter never went hungry again. One day, the little girl went to visit her friend. Her mother, who was hungry, decided to use the magic pot and said, "Cook little pot, cook." But when the pot was filled the mother could not remember the magic words to stop the pot from cooking. The porridge began to overflow from the pot and into the whole village! When the little girl came home, she quickly said the magic words and so the porridge stopped flowing. The villagers had a busy time cleaning up their houses. But no one complained because the little girl shared the pot with everyone. No one went hungry in the village again.


Appendix #24a

Comparison Chart: Strega Nona and The Magic Porridge Pot

Attributes Strega Nona Both Magic Porridge Pot

Setting

Town of Calabria Village

Contains a magic pot

Knows the secret of the magic pot

Strega Nona Little Girl

Food cooked in pot

Pasta Porridge

Magic Words

Possesses a magic touch

Strega Nona The good witch

Motivation for touching the pot

Big Anthony wants to show off.

Mother is hungry.

Eats the mass of food

Big Anthony Villagers

Lesson Learned Big Anthony learns actions have consequences.

Mother learns the magic words.


Appendix #24b

Word Ladders

Word Ladders (developed by Tim Rasinski) is a variation of Making Words, an activity developed by Jim and Pat Cunningham (1992). In this activity, which is as much word play as it is word study, the teacher leads students through a process of building words using a limited set of letters. Initially students use given letters to make short words that are pronounced by the teacher: then they work through longer words and finally identify and a make a “secret” word using all the letters from the set. Regular use of this activity helps students understand how words are made. The major difference between the two activities is that in Making Words students manipulate letter cards, while in Word Ladders students actually write the words on the activity sheet attached. This activity may be used with individuals or large or small groups. Each student receives a blank sheet to write the words he or she will make. The teacher has his or her own sheet projected on an overhead project. All students are therefore engaged in making and writing words as they are guided through the activity by their teacher. The Activity in Action As in Making Words, Word Ladders begins with the identification of vowels and consonants to be used in the lesson. Students each write these letters at the top of their sheets. In the empty boxes underneath, students will write words made from the letter set. Before they begin, explain that the word they write may contain only letters listed at the top, and each letter may be used only once per word unless it appears more than once in the list at the top. Part 1 of the activity then starts with the teacher pronouncing or giving a clue to a word that the students write in the first box. Here is how the activity might play out in the classroom: The teacher instructs the students to write the following letters in the appropriate boxes on their individual sheets: the vowels, a, a, i, and o: consonants c, n, t, and v. The teacher then either pronounces or gives clues to words, beginning with a few having only two or three letters and moving on to longer words:


Appendix #25a

“In box number 1 write a two letter word that means the opposite of out. (Students write the word in box number 1). Good. Now, words that contain in belong to a word family. The word I’m thinking of is a kind of metal. (tin). Now, in boxes 3, 4 and 5, write three words that belong to the an word family. Remember, all an words will rhyme and you can only use the letter listed at the top.” The teacher continues with the class through other three letter words and then on to longer words. “Great job. Now let’s work on some longer words.” The teacher works with the class with the remaining words she had planned – coin, vain, vacant, etc.” Throughout this work the teacher either pronounces the words or provides clues to help students figure out the word (e.g., the word that goes in box 10 describes a type of money that includes pennies, nickels, dimes and quarters) or both. This promotes not only growth in spelling and decoding but also in vocabulary acquisition. Students should be encouraged to figure out the words or look at the overhead if they run into trouble. The final list is always the “challenge word.” Students are told that it uses all the letters listed. Write this word in the final box. Our example is vacation. After all the words have been written in part 1, the teacher guides the students to apply what they learned to part 2, where they discover new words that follow or transfer some of the patterns or principals used in part 1. In the boxes marked T1 – T6 (the T stands for transfer), the teacher directs students to write words related to those in boxes 1-15. In the case of our example, the teacher says, “You know how to write coin. Let’s try and write coil.” If they have pan how would they make panda. Students give it a try and then talk about the information they used to figure out the transfer words. Space is provided for six transfer words. The website www.wordsmith.org/anagram will generate a list of possible words to use in this activity. Type in your “mystery word”. Select “advanced” setting and select “print candidate words only.”


Appendix #25b

http://www.wordsmith.org/anagram

VOWELS CONSONANTS

a, a, e, o g, n, n, r, s, t

BOX # CLUES WORD

1 Three letter word from the ‘at’ family, it is a RAT small rodent 2 Four letter word from the ‘at’ family, GNAT

has a silent letter, it’s a tiny bug 3 Three letter word, an insect ANT 4 Three letter word, same letters as ant, move the letters TAN around to make a color word - light brown 5 Three letter word, refers to how old you are AGE 6 Five letter word, rhymes with age, where STAGE people perform 7 Three letters, this word is used in many contractions, NOT rhymes with hot 8 Four letters, add one letter to not, something you NOTE write to a friend 9 Four letters, rearrange the letters in note to make a TONE musical term 10 Five letter word, add one letter, another name STONE for a rock 11 Three letter word, part of your body, you use EAR it to hear 12 Four letter word, rhymes with ear, NEAR opposite of far


Appendix #25c

13 Four letters, a farm animal, males are called GOAT billy, females, nanny 14 Five letters, rhymes with toast, a way to cook meat ROAST 15 MYSTERY WORD has anyone figured it out? A character from our story

STREGA NONA

TRANSFER WORDS T1 In box #3 we see how to spell ant – how would you spell plant? T2 In box #2 we see how to spell gnat - we spell gnaw with the same silent letter. T3 In box #6 we spelled stage – how would you spell the compound word stagecoach? T4 In box #11 we spelled ear - how would you spell earring? T5 In box # 12 we spelled near – how would you spell nearly? T6 In box #14 we spelled roast – if you change the ending you can spell roam.


Appendix #25d

Word Study

Vowels

Consonants

1

6

11

2

7

12

3

8

13

4

9

14

5 10

15

Transfer T-1

T-2

T-3

T-4 T-5 T-6


Appendix #25e

Word Study

Vowels

a, a, e, o

Consonants

g, n, n, r, s, t

1 rat

6 stage

11 ear

2 gnat

7 not

12 near

3 ant

8 note

13 goat

4 tan

9 tone

14 roast

5 10 age stone

15 Strega Nona

Transfer T-1

plant

T-2 gnat

T-3 stagecoach

T-4 T-5 T-6 earring nearly roam


Appendix #25f

Blank Character Traits Web Appendix #26a


Trait Trait

Trait Trait

Event Event

Character

Event Event

Character Traits Web with examples Appendix #26b


Trait Trait

Trait Trait

Event She could cure aches and pains.

Event She knew what had happened with the pasta pot without being told.

Character

Strega Nona

Event Everyone in town knew her.

Event She stopped the townspeople from “stringing up Big Anthony.”

Genre: Pourquoi Tale A pourquoi tale explains why something is the way it is. Pourquoi stories have story elements: characters in settings with problems, attempts to solve problems or events, resolution and lessons or theme. Definition:• A folktale that explains the “why” (French, Pourquoi = why) of certain

customs, physical events, or animal behavior. (from Harris, et al. The Literacy Dictionary, IRA, 1995)

• Pourquoi tales are short narratives that have been passed orally in all cultures to provide an explanation for creation, nature’s elements, people’s actions, and animal characteristics. (Kathleen Buss and Lee Karnowski. Reading and Writing Literary Genres, IRA, 2000)

Purpose:• To tell why something is the way it is • To explain natural and social phenomena Form: • A short story with a setting emphasizing a culture or a country; characters

who are either people, animals, or nature; and a conflict centering on change. Features: • Patterned beginnings emphasize the time of the story. • The setting emphasizes a culture or a country. • Characters (people, animals, or nature) are flat or not developed (not needing

a lot of explanation). The main character will change by the end of the story. • Conflict is one-dimensional and centers on how something has changed to the

way it is now. • The plot is not developed but linear, revolving around the character’s actions

to solve the question of why or how.


Appendix #27a

Pourquoi Tale Bookmark Pourquoi Tale Bookmark Pourquoi Tale Bookmark Tale explaining why something is the way it is Tale explaining why something is the way it is Tale explaining why something is the way it is

Name:


Name:

Name:

Title: Title: Title: Give a brief reminder of the genre characteristics you find as you read.

Give a brief reminder of the genre characteristics you find as you read.

Give a brief reminder of the genre characteristics you find as you read.

Tells how things used to be: Tells how things used to be: Tells how things used to be:

List events leading up to the answer to “why” question. List events leading up to the answer to “why” question. List events leading up to the answer to “why” question.

Tell how things are now. Tell how things are now. Tell how things are now.


Appendix #27b

Pourquoi Writing Organizer

My question can be my title: The beginning tells when and how things used to be: Who are the characters? What is the problem? Tell the events or actions that lead up to answering the question and solving the problem. Tell how the main character changed: The ending answers the question with how things are now:


Appendix #28a

Pourquoi Writing Organizer with Examples from Coyote My question can be my title: Why Is Coyote the Color of Dust? The beginning tells when and how things used to be: Coyote was blue. Who are the characters? The characters are: Coyote, Snake, and Crows. What is the problem? Coyote was always looking for and finding trouble. He wanted to fly like the crows so he would be the greatest coyote in all of the world. Tell the events or actions that lead up to answering the question and solving the problem:

• Coyote found Snake and found trouble. • Coyote asked the Crows to help him fly, and they tried. • But Coyote became rude and boastful – he danced out of step and sang out

of tune. • The Crows became angry with Coyote’s attitude and took their feathers

back, causing Coyote to fall to the earth. Tell how the main character changed: Coyote looks differently, but he still finds trouble. The ending answers the question with how things are now:


Coyote is the color of dust with a tail that looks burned. Appendix #28b

Chart: Lessons That Characters Learned

Fables Hansel and Gretel The Emperor’s New Clothes

The Principal’s New Clothes

Strega Nona Coyote


Appendix #29a

Chart: Lessons That Characters Learned

Fables Hansel and Gretel

The Emperor’s New Clothes

The Principal’s New Clothes

Strega Nona Coyote

The Hippopotamus learned that too much of anything is not a good thing.

Hansel and Gretel learned that they could solve their own problems; that using their brains could help them win over stronger people (witch); that good often wins over evil; and that it is important to take care of each other.

The Emperor should have learned not to be so vain. He learned not to pay so much attention to what others thought of him.

Coyote should have learned a lesson not to go out looking for trouble.

Big Anthony learned that his actions had consequences. He learned that he should not have tried to show off by using magic powers that were not his to use.

The Principal also learned not to be so vain and not to be so concerned about what other people thought of him.


Appendix #29b

Response Prompt and Checklist

Focus Question: In the stories that we have read in this unit, all of the characters have learned lessons that could be important in our own lives. Choose two of the six selections we have read and tell what lesson each character learned, how s/he learned it, and how that lesson might apply to your life. Show how the stories are alike. You may use the chart you created to help answer this question. Explain your answer using specific details and examples from the books we have read to support your position. Use the rubric and checklist as you write and review your response: CHECKLIST FOR REVISION: _____ Do I take a position and clearly answer the question I was asked? _____ Do I support my answer with examples and details from both of the selections? _____ Do I show how the stories are alike. _____ Is my writing organized and complete?


Appendix #30

DRAFT 5/30/02

MEAP Integrated English Language Arts Assessment Writing in Response to Reading

Elementary Rubric

6 The student clearly and effectively chooses key or important ideas from each reading selection to support a position on the question and to make a clear connection between the reading selections. The position and connection are thoroughly developed with appropriate examples and details. There are no misconceptions about the reading selections. There are strong relationships among ideas. Mastery of language use and writing conventions contributes to the effect of the response.

5 The student makes meaningful use of key ideas from each reading selection to support a position on

the question and to make a clear connection between the reading selections. The position and connection are well developed with appropriate examples and details. Minor misconceptions may be present. Relationships among ideas are clear. The language is controlled, and occasional lapses in writing conventions are hardly noticeable.

4 The student makes adequate use of ideas from each reading selection to support a position on the

question and to make a connection between the reading selections. The position and connections are supported by examples and details. Minor misconceptions may be present. Language use is correct. Lapses in writing conventions are not distracting.

3 The student takes a clear position on the question. The response makes adequate use of ideas from

one reading selection or partially successful use of ideas from both reading selections, and the ideas from at least one reading selection are connected to the position. The position is developed with limited use of examples and details. Misconceptions may indicate only a partial understanding of the reading. Language use is correct but limited. Incomplete mastery over writing conventions may interfere with meaning some of the time.

2 The student takes a clear position on the question. There is partially successful use of ideas from one

reading selection or minimal use of ideas from both reading selections to respond to the question or theme, but the ideas may not be connected to the position. The position is underdeveloped. Major misconceptions may indicate minimal understanding of the reading. Limited mastery over writing conventions may make the writing difficult to understand.

1 The student takes a position on the question but only makes minimal use of ideas from one reading

selection or the student takes no position on the question but responds to the theme with at least minimal use of ideas from one or both of the reading selections. Ideas are not developed and may be unclear. Major misconceptions may indicate a lack of understanding of the reading. Lack of mastery over writing conventions may make the writing difficult to understand.

Not ratable if: A retells/references the reading selections with no connection to the question B off topic C illegible/written in a language other than English D blank/refused to respond E responds to the scenario question with no reference to either of the reading selections

Appendix #31


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