objective: swbat hypothesize how roald dahl creates...

Objective: SWBAT hypothesize how Roald Dahl creates suspense in the short story, "Lamb to the Slaughter," by engaging in close-reading.

On Your Desk:LE 1.1Pencil/penPlanner

Homework: None!

Agenda:Do NowClasskeepingReading w/ Stop and Jots & GistsMastery Check: Hypothesizing

Do Now: Answer the questions below in complete sentences!

What does your name mean? Where does it come from?1.

What do you wish teacher's knew about you?2.

What are your plans for after high school? 3.

What are your top 3 favorite books and/or authors?4.

In 20 years, what do you want to be remembered for by your current classmates and teachers?5.

“Lamb to the Slaughter,” by Roald Dahl

1 The room was warm and clean, the curtains drawn, the two table lamps alight-hers and the one by the empty chair opposite. On the sideboard behind her, two tall glasses, soda water, whiskey. Fresh ice cubes in the Thermos bucket.

2 Mary Maloney was waiting for her husband to come him from work.

3 Now and again she would glance up at the clock, but without anxiety, merely to please herself with the thought that each minute gone by made it nearer the time when he would come. There was a slow smiling air about her, and about everything she did. The drop of a head as she bent over her sewing was curiously tranquil. Her skin -for this was her sixth month with child-had acquired a wonderful translucent quality, the mouth was soft, and the eyes, with their new placid look, seemed larger darker than before. When the clock said ten minutes to five, she began to listen, and a few moments later, punctually as always, she heard the tires on the gravel outside, and the car door slamming, the footsteps passing the

LE 1.1 (Monday)Wednesday, August 13, 20142:12 PM

LE1 Poe's Short Stories

smiling air about her, and about everything she did. The drop of a head as she bent over her sewing was curiously tranquil. Her skin -for this was her sixth month with child-had acquired a wonderful translucent quality, the mouth was soft, and the eyes, with their new placid look, seemed larger darker than before. When the clock said ten minutes to five, she began to listen, and a few moments later, punctually as always, she heard the tires on the gravel outside, and the car door slamming, the footsteps passing the window, the key turning in the lock. She laid aside her sewing, stood up, and went forward to kiss him as he came in.

4 "Hullo darling," she said.

5 "Hullo darling," he answered.

6 She took his coat and hung it in the closer. Then she walked over and made the drinks, a strongish one for him, a weak one for herself; and soon she was back again in her chair with the sewing, and he in the other, opposite, holding the tall glass with both hands, rocking it so the ice cubes tinkled against the side.

7 For her, this was always a blissful time of day. She knew he didn't want to speak much until the first drink was finished, and she, on her side, was content to sit quietly, enjoying his company after the long hours alone in the house. She loved to luxuriate in the presence of this man, and to feel-almost as a sunbather feels the sun-that warm male glow that came out of him to her when they were alone together. She loved him for the way he sat loosely in a chair, for the way he came in a door, or moved slowly across the room with long strides. She loved intent, far look in his eyes when they rested in her, the funny shape of the mouth, and especially the way he remained silent about his tiredness, sitting still with himself until the whiskey had taken some of it away.

8 "Tired darling?"

9 "Yes," he said. "I'm tired," And as he spoke, he did an unusual thing. He lifted his glass and drained it in one swallow although there was still half of it, at least half of it left. She wasn't really watching him, but she knew what he had done because she heard the ice cubes falling back against the bottom of the empty glass when he lowered his arm. He paused a moment, leaning forward in the chair, then he got up and went slowly over to fetch himself another.

10 "I'll get it!" she cried, jumping up.

11 "Sit down," he said.

12 When he came back, she noticed that the new drink was dark amber with the quantity of whiskey in it.

13 "Darling, shall I get your slippers?"

14 "No."

15 She watched him as he began to sip the dark yellow drink, and she could see little oily swirls in the liquid because it was so strong.

16 "I think it's a shame," she said, "that when a policeman gets to be as senior as you, they keep him walking about on his feet all day long."

17 He didn't answer, so she bent her head again and went on with her sewing; bet each time he lifted the drink to his lips, she heard the ice cubes clinking against the side of the glass.

18 "Darling," she said. "Would you like me to get you some cheese? I haven't made any supper because it's Thursday."

19 "No," he said.

20 "If you're too tired to eat out," she went on, "it's still not too late. There's plenty of meat and stuff in the freezer, and you can have it right here and not even move out of the chair."

21 Her eyes waited on him for an answer, a smile, a little nod, but he made no sign.

22 "Anyway," she went on, "I'll get you some cheese and crackers first."

23 "I don't want it," he said.

24 She moved uneasily in her chair, the large eyes still watching his face. "But you must eat! I'll fix it anyway, and then you can have it or not, as you like."

25 She stood up and placed her sewing on the table by the lamp.

26 "Sit down," he said. "Just for a minute, sit down."

Stop and Jot 1: So far, what type of marriage do you think the Maloney's have? How do you know? Underline your textual evidence.


26 "Sit down," he said. "Just for a minute, sit down."

27 It wasn't till then that she began to get frightened.

28 "Go on," he said. "Sit down."

29 She lowered herself back slowly into the chair, watching him all the time with those large, bewildered eyes. He had finished the second drink and was staring down into the glass, frowning.

30 "Listen," he said. "I've got something to tell you."

31 "What is it, darling? What's the matter?"

32 He had now become absolutely motionless, and he kept his head down so that the light from the lamp beside him fell across the upper part of his face, leaving the chin and mouth in shadow. She noticed there was a little muscle moving near the corner of his left eye.

33 "This is going to be a bit of a shock to you, I'm afraid," he said. "But I've thought about it a good deal and I've decided the only thing to do is tell you right away. I hope you won't blame me too much."

34 And he told her. It didn't take long, four or five minutes at most, and she say very still through it all, watching him with a kind of dazed horror as he went further and further away from her with each word.

35 "So there it is," he added. "And I know it's kind of a bad time to be telling you, bet there simply wasn't any other way. Of course I'll give you money and see you're looked after. But there needn't really be any fuss. I hope not anyway. It wouldn't be very good for my job."

36 Her first instinct was not to believe any of it, to reject it all. It occurred to her that perhaps he hadn't even spoken, that she herself had imagined the whole thing. Maybe, if she went about her business and acted as though she hadn't been listening, then later, when she sort of woke up again, she might find none of it had ever happened.

37 "I'll get the supper," she managed to whisper, and this time he didn't stop her.

38 When she walked across the room she couldn't feel her feet touching the floor. She couldn't feel anything at all- except a slight nausea and a desire to vomit. Everything was automatic now-down the steps to the cellar, the light switch, the deep freeze, the hand inside the cabinet taking hold of the first object it met. She lifted it out, and looked at it. It was wrapped in paper, so she took off the paper and looked at it again.

39 A leg of lamb.

40 All right then, they would have lamb for supper. She carried it upstairs, holding the thin bone-end of it with both her hands, and as she went through the living-room, she saw him standing over by the window with his back to her, and she stopped.

41 "For God's sake," he said, hearing her, but not turning round. "Don't make supper for me. I'm going out."

42 At that point, Mary Maloney simply walked up behind him and without any pause she swung the big frozen leg of lamb high in the air and brought it down as hard as she could on the back of his head.

43 She might just as well have hit him with a steel club.

44 She stepped back a pace, waiting, and the funny thing was that he remained standing there for at least four or five seconds, gently swaying. Then he crashed to the carpet.

45 The violence of the crash, the noise, the small table overturning, helped bring her out of he shock. She came out slowly, feeling cold and surprised, and she stood for a while blinking at the body, still holding the ridiculous piece of meat tight with both hands.

46 All right, she told herself. So I've killed him.

47 It was extraordinary, now, how clear her mind became all of a sudden. She began thinking very fast. As the wife of a detective, she knew quite well what the penalty would be. That was fine. It made no difference to her. In fact, it would be a relief. On the other hand, what about the child? What were the laws about murderers with unborn children? Did they kill then both-mother and child? Or did they wait until the tenth month? What did they do?

48 Mary Maloney didn't know. And she certainly wasn't prepared to take a chance.

49 She carried the meat into the kitchen, placed it in a pan, turned the oven on high, and shoved t inside. Then she washed her hands and ran upstairs to the bedroom. She sat down before the mirror,

Stop and Jot 2: Make an inference. What do you think Mr. Maloney said to his wife? Why? Underline your evidence.

Stop and Jot 3: What is Mary Maloney's tone (attitude) while thinking about her actions? How do you know? Underline your evidence.


inside. Then she washed her hands and ran upstairs to the bedroom. She sat down before the mirror, tidied her hair, touched up her lops and face. She tried a smile. It came out rather peculiar. She tried again.

50 "Hullo Sam," she said brightly, aloud.

51 The voice sounded peculiar too.

52 "I want some potatoes please, Sam. Yes, and I think a can of peas."

53 That was better. Both the smile and the voice were coming out better now. She rehearsed it several times more. Then she ran downstairs, took her coat, went out the back door, down the garden, into the street.

54 It wasn't six o'clock yet and the lights were still on in the grocery shop.

55 "Hullo Sam," she said brightly, smiling at the man behind the counter.

56 "Why, good evening, Mrs. Maloney. How're you?"

57 "I want some potatoes please, Sam. Yes, and I think a can of peas."

58 The man turned and reached up behind him on the shelf for the peas.

59 "Patrick's decided he's tired and doesn't want to eat out tonight," she told him. "We usually go out Thursdays, you know, and now he's caught me without any vegetables in the house."

60 "Then how about meat, Mrs. Maloney?"

61 "No, I've got meat, thanks. I got a nice leg of lamb from the freezer."

62 "Oh."

63 "I don't know much like cooking it frozen, Sam, but I'm taking a chance on it this time. You think it'll be all right?"

64 "Personally," the grocer said, "I don't believe it makes any difference. You want these Idaho potatoes?"

65 "Oh yes, that'll be fine. Two of those."

66 "Anything else?" The grocer cocked his head on one side, looking at her pleasantly. "How about afterwards? What you going to give him for afterwards?"

67 "Well-what would you suggest, Sam?"

68 The man glanced around his shop. "How about a nice big slice of cheesecake? I know he likes that."

69 "Perfect," she said. "He loves it."

70 And when it was all wrapped and she had paid, she put on her brightest smile and said, "Thank you, Sam. Goodnight."

71 "Goodnight, Mrs. Maloney. And thank you."

72 And now, she told herself as she hurried back, all she was doing now, she was returning home to her husband and he was waiting for his supper; and she must cook it good, and make it as tasty as possible because the poor man was tired; and if, when she entered the house, she happened to find anything unusual, or tragic, or terrible, then naturally it would be a shock and she'd become frantic with grief and horror. Mind you, she wasn't expecting to find anything. She was just going home with the vegetables. Mrs. Patrick Maloney going home with the vegetables on Thursday evening to cook supper for her husband.

73 That's the way, she told herself. Do everything right and natural. Keep things absolutely natural and there'll be no need for any acting at all.

74 Therefore, when she entered the kitchen by the back door, she was humming a little tune to herself and smiling.

75 "Patrick!" she called. "How are you, darling?"

76 She put the parcel down on the table and went through into the living room; and when she saw him lying there on the floor with his legs doubled up and one arm twisted back underneath his body, it really

Stop and Jot 4: Make a prediction. What do you think is going to happen next? Why? Underline your textual evidence.


lying there on the floor with his legs doubled up and one arm twisted back underneath his body, it really was rather a shock. All the old love and longing for him welled up inside her, and she ran over to him, knelt down beside him, and began to cry her heart out. It was easy. No acting was necessary.

77 A few minutes later she got up and went to the phone. She know the number of the police station, and when the man at the other end answered, she cried to him, "Quick! Come quick! Patrick's dead!"

78 "Who's speaking?"

79 "Mrs. Maloney. Mrs. Patrick Maloney."

80 "You mean Patrick Maloney's dead?"

81 "I think so," she sobbed. "He's lying on the floor and I think he's dead."

82 "Be right over," the man said.

83 The car came very quickly, and when she opened the front door, two policeman walked in. She know them both-she know nearly all the man at that precinct-and she fell right into a chair, then went over to join the other one, who was called O'Malley, kneeling by the body.

84 "Is he dead?" she cried.

85 "I'm afraid he is. What happened?"

86 Briefly, she told her story about going out to the grocer and coming back to find him on the floor. While she was talking, crying and talking, Noonan discovered a small patch of congealed blood on the dead man's head. He showed it to O'Malley who got up at once and hurried to the phone.

87 Soon, other men began to come into the house. First a doctor, then two detectives, one of whom she know by name. Later, a police photographer arrived and took pictures, and a man who know about fingerprints. There was a great deal of whispering and muttering beside the corpse, and the detectives kept asking her a lot of questions. But they always treated her kindly. She told her story again, this time right from the beginning, when Patrick had come in, and she was sewing, and he was tired, so tired he hadn't wanted to go out for supper. She told how she'd put the meat in the oven-"it's there now, cooking"- and how she'd slopped out to the grocer for vegetables, and come back to find him lying on the floor.

88 "Which grocer?" one of the detectives asked.

89 She told him, and he turned and whispered something to the other detective who immediately went outside into the street.

90 In fifteen minutes he was back with a page of notes, and there was more whispering, and through her sobbing she heard a few of the whispered phrases-"...acted quite normal...very cheerful...wanted to give him a good supper...peas...cheesecake...impossible that she..."

91 After a while, the photographer and the doctor departed and two other men came in and took the corpse away on a stretcher. Then the fingerprint man went away. The two detectives remained, and so did the two policeman. They were exceptionally nice to her, and Jack Noonan asked if she wouldn't rather go somewhere else, to her sister's house perhaps, or to his own wife who would take care of her and put her up for the night.

92 No, she said. She didn't feel she could move even a yard at the moment. Would they mind awfully of she stayed just where she was until she felt better. She didn't feel too good at the moment, she really didn't.

93 Then hadn't she better lie down on the bed? Jack Noonan asked.

94 No, she said. She'd like to stay right where she was, in this chair. A little later, perhaps, when she felt better, she would move.

95 So they left her there while they went about their business, searching the house. Occasionally on of the detectives asked her another question. Sometimes Jack Noonan spoke at her gently as he passed by. Her husband, he told her, had been killed by a blow on the back of the head administered with a heavy blunt instrument, almost certainly a large piece of metal. They were looking for the weapon. The murderer may have taken it with him, but on the other hand he may have thrown it away or hidden it somewhere on the premises.

96 "It's the old story," he said. "Get the weapon, and you've got the man."

97 Later, one of the detectives came up and sat beside her. Did she know, he asked, of anything in the house that could've been used as the weapon? Would she mind having a look around to see if anything


96 "It's the old story," he said. "Get the weapon, and you've got the man."

97 Later, one of the detectives came up and sat beside her. Did she know, he asked, of anything in the house that could've been used as the weapon? Would she mind having a look around to see if anything was missing-a very big spanner, for example, or a heavy metal vase.

98 They didn't have any heavy metal vases, she said.

99 "Or a big spanner?"

100 She didn't think they had a big spanner. But there might be some things like that in the garage.

101 The search went on. She knew that there were other policemen in the garden all around the house. She could hear their footsteps on the gravel outside, and sometimes she saw a flash of a torch through a chink in the curtains. It began to get late, nearly nine she noticed by the clock on the mantle. The four men searching the rooms seemed to be growing weary, a trifle exasperated.

102 "Jack," she said, the next tome Sergeant Noonan went by. "Would you mind giving me a drink?"

103 "Sure I'll give you a drink. You mean this whiskey?"

104 "Yes please. But just a small one. It might make me feel better."

105 He handed her the glass.

106 "Why don't you have one yourself," she said. "You must be awfully tired. Please do. You've been very good to me."

107 "Well," he answered. "It's not strictly allowed, but I might take just a drop to keep me going."

108 One by one the others came in and were persuaded to take a little nip of whiskey. They stood around rather awkwardly with the drinks in their hands, uncomfortable in her presence, trying to say consoling things to her. Sergeant Noonan wandered into the kitchen, come out quickly and said, "Look, Mrs. Maloney. You know that oven of yours is still on, and the meat still inside."

109 "Oh dear me!" she cried. "So it is!"

110 "I better turn it off for you, hadn't I?"

111 "Will you do that, Jack. Thank you so much."

112 When the sergeant returned the second time, she looked at him with her large, dark tearful eyes. "Jack Noonan," she said.

113 "Yes?"

114 "Would you do me a small favor-you and these others?"

115 "We can try, Mrs. Maloney."

116 "Well," she said. "Here you all are, and good friends of dear Patrick's too, and helping to catch the man who killed him. You must be terrible hungry by now because it's long past your suppertime, and I know Patrick would never forgive me, God bless his soul, if I allowed you to remain in his house without offering you decent hospitality. Why don't you eat up that lamb that's in the oven. It'll be cooked just right by now."

117 "Wouldn't dream of it," Sergeant Noonan said.

118 "Please," she begged. "Please eat it. Personally I couldn't touch a thing, certainly not what's been in the house when he was here. But it's all right for you. It'd be a favor to me if you'd eat it up. Then you can go on with your work again afterwards."

119 There was a good deal of hesitating among the four policemen, but they were clearly hungry, and in the end they were persuaded to go into the kitchen and help themselves. The woman stayed where she was, listening to them speaking among themselves, their voices thick and sloppy because their mouths were full of meat.

120 "Have some more, Charlie?"

121 "No. Better not finish it."

122 "She wants us to finish it. She said so. Be doing her a favor."

123 "Okay then. Give me some more."


123 "Okay then. Give me some more."

124 "That's the hell of a big club the gut must've used to hit poor Patrick," one of them was saying. "The doc says his skull was smashed all to pieces just like from a sledgehammer."

125 "That's why it ought to be easy to find."

126 "Exactly what I say."

127 "Whoever done it, they're not going to be carrying a thing like that around with them longer than they need."

128 One of them belched.

129 "Personally, I think it's right here on the premises."

130 "Probably right under our very noses. What you think, Jack?"

140 And in the other room, Mary Maloney began to giggle.

Mastery Check:

Roald Dahl was intentionally trying to create a mood of suspense in his readers throughout the text. What places or events in the text made you feel suspenseful? List at least 3 with paraphrased evidence (in your own words, does not need to be a direct quote):

When Patrick made himself a stronger second drink we knew that something was wrong and started to feel suspense building.

•

•

•

•

Stop and Jot 5: Some might find the ending of this short story funny. Explain why it may be funny.

3 pieces of paraphrased evidence1.Legible handwriting2.

CFS:


Objective: SWBAT hypothesize how Roald Dahl creates suspense in the short story, "Lamb to the Slaughter," by engaging in close-reading.

On Your Desk:LE 1.1LE 1.1 ExtensionPencil/penPlanner

Agenda:Do NowClasskeepingReading w/ Stop and Jots & GistsMastery Check: Hypothesizing

Homework: Writer History Paragraph

Do Now:

Read the short excerpt on reading below. Then answer the questions in COMPLETE SENTENCES.

Why Writing is Important

Writing is empowering, and not just because it's fun to tap into that creative vein and be amazed by the riches there. Writing, in all its varied forms and purposes, is a complex process. It calls upon us to bring our left and right brain together to shape experience and feeling into something another person can read and understand. That need, to feel understood, to know that what one thinks or feels matters, is universal. Many people, children in particular, view the whole process as mysterious and inaccessible. The good news is: anyone can learn to write and every writer has their own unique process. But there are many more ways in which writing empowers us. The writing process is rarely linear but does have distinct phases that all writers go through: planning, reflection, drafting, and revision—though not necessarily in that order! Writing can help children and adults alike to:

enhance their problem solving and critical thinking. •

develop integration of process, content, and skills.•

develop organizational strategies depending on the form of the writing.•

develop the skill of inquiry ( which includes: collecting and evaluating information, comparing and contrasting, imagining situations from another perspective, building argument for a particular position or point of view, learning the importance of not only asking questions of others but of ourselves, of not only revising the information we receive but being willing to revise the questions).

•

increase decision making abilities.•

develop a healthy skepticism which leads to exploration of ideas, an enlarged world view and a confident imagination.•

Why is writing challenging?1.

Who can learn how to write?2.

What are the 4 stages that all writers go through?3.

What are 2 things that writing can help YOU do better this year?4.

LE 1.1.5 (Tues & HW)Saturday, August 23, 20141:34 PM


Homework:

Tell me (Mrs. Gibson) about your history as a writer. How do you feel about writing? What teachers have helped you most as a writer? How have they helped you? What are you best at? What do you want to work on this year? Give me a history of yourself as a developing writer. Your response should be 1 complete paragraph (at least 5 COMPLETE sentences).


Objective: SWBAT brainstorm relevant evidence from, "Lamb to the Slaughter," to support literary techniques that Roald Dahl is using to create suspense.

Essay Prompt: How do author's use literary devices to create suspense?

On Your Desk:LE 1.1LE 1.2Pen/pencilPlanner

Homework: None!

Agenda:Do NowMini-Lesson: Literary techniquesI Do: Modeling with "The Sniper"We Do: Evidence in groupsGroup Share-OutsClosing Question

Do Now:

What are your goals for writing class this year? This could be a grade, a specific skill that you want to get better at, or a score that you'd like to get on the PBA rubric. Be specific and dream big!!

Literary Techniques!

Annotation Symbol

Literary Technique

Examples DEFINITION IN MY OWN WORDS...

Dark Comedy

Monty Python and the Holy Grail: "It's a mere flesh wound!"

_________________________

that makes light of otherwise

_________________________

subject matter.

Dramatic Irony

Romeo and Juliet: Romeo thinks Juliet is dead and the audience knows she is not, she's simply sleeping but Romeo kills himself in his grief.

Dramatic irony occurs when the

_________________________ knows something the

_________________________ do not.

Diction Pirates of the Caribbean: "I am disinclined to acquiesce to your request… it means, no."

The intentional choice and use of

Name:LE 1.2 (Wednesday)Wednesday, August 13, 20142:27 PM


request… it means, no."

_________________________ and phrases in speech or

________________________.

Foreshadowing

An advance

_________________________ or

_________________________ of what is to come in the future.

Conflict

________________________, either internal or external, between characters, nature, the supernatural, or other forces, that move the

_________________________ forward.

I Do: "The Sniper"

1 The long June twilight faded into night. Dublin lay enveloped in darkness but for the dim light of the moon that shone

through fleecy clouds, casting a pale light as of approaching dawn over the streets and the dark waters of the Liffey. Around the beleaguered Four Courts the heavy guns roared. Here and there through the city, machine guns and rifles

broke the silence of the night, spasmodically, like dogs barking on lone farms. Republicans and Free Staters were waging civil war.

2 On a rooftop near O'Connell Bridge, a Republican sniper lay watching. Beside him lay his rifle and over his shoulders

was slung a pair of field glasses. His face was the face of a student, thin and ascetic, but his eyes had the cold gleam of the fanatic. They were deep and thoughtful, the eyes of a man who is used to looking at death.

3 He was eating a sandwich hungrily. He had eaten nothing since morning. He had been too excited to eat. He finished

the sandwich, and, taking a flask of whiskey from his pocket, he took a short drought. Then he returned the flask to his pocket. He paused for a moment, considering whether he should risk a smoke. It was dangerous. The flash might be

seen in the darkness, and there were enemies watching. He decided to take the risk.

We Do: Group work!In your assigned group, identify 3 or more places in the text where Roald Dahl used your assigned literary device to create suspense. Identify them with your corresponding symbol in the text.

Closing Question:

On a scale of 1-5, how confident do you feel about identifying literary techniques and supporting them with evidence? What additional support do you need?


Do Now:

Identify at least 2 examples of each literary device/technique (dark comedy, diction, dramatic irony, foreshadowing, conflict ) in the text of "Lamb to the Slaughter." Underline or highlight and then mark them with the appropriate symbol.

I Do: Selecting Evidence!

Criteria for success:

Evidence relates to the ___________________________________________________________________________________________________________.1.

Just the right ___________________________________________________________________________________________________________________.2.

Drawn from multiple _____________________________________________________________________________________________________________.3.

We Do:

Literary Technique Evidence 1 Evidence 2

Diction

(scary, dark, ominous words)

"Dublin lay enveloped in darkness but for the dim light of the moon that shone through fleecy clouds, casting a pale light as of approaching dawn over the streets and the dark waters of the Liffey. Around the beleaguered Four Courts the heavy guns roared. Here and there through the city, machine guns and rifles broke the silence of the night, spasmodically, like dogs barking on lone farms" (paragraph 1).

"His eyes had the cold gleam of the fanatic… the eyes of a man who is used to looking at death" (paragraph 2).

Agenda:Do NowShare-OutsI Do: Selecting EvidenceWe Do: Evaluating Evidence SelectionYou Do: Organizing EvidenceMastery Check

Homework: HW LE 1.3

Objective: SWBAT select relevant evidence from, "Lamb to the Slaughter," to support literary techniques that Roald Dahl is using to create suspense.


That, "I-can't-stop-reading, I'm-on-the-edge-of-my-seat, I-MUST-find-out-what's-going-to-happen-next," feeling...

=

Name: LE 1.3 (Thursday)Wednesday, August 13, 20142:27 PM


barking on lone farms" (paragraph 1).

You Do:

Your first literary essay should have 3 body paragraphs; each paragraph should identify a literary technique that Roald Dahl uses to create suspense and provide at least 2 pieces of textual evidence to support your assertion. Complete the graphic organizer b elow identifying which 3 literary techniques you are going to write about and which 2 pieces of textual evidence you are going to use for each.

Literary Technique Evidence 1 Evidence 2


Mastery Check:

Read the questions below about selecting evidence. Refer to the PBA rubric strands from the I Do section. Circle the correct answer.

Almost all evidence selected strongly supports assertion.a.

Almost all evidence selected is directly relevant to the assertion.b.

Most evidence selected is connected to the topic of the paragraph.c.

Almost all evidence is connected to the assertion.d.

All of the above.e.

As an 8th grade writer, what should the relationship be between your evidence and your assertion?1.

Complete paragraphs.a.

One word.b.

Enough to prove your point.c.

Doesn't matter.d.

None of the above.e.

As an 8th grade writer, how much evidence should you be selecting?2.

Evidence is drawn from the beginning and the end of the text.a.

Evidence is drawn from multiple parts of the text.b.

Evidence is drawn from thin air.c.

Evidence, if applicable, is drawn from multiple sources.d.

Both b and d.e.

As an 8th grade writer, where should your evidence be drawn from?3.


Literary Technique

Mrs. Gibson's Examples YOUR Example

Dark Comedy Monty Python and the Holy Grail: "It's a mere flesh wound!"

Dramatic Irony

Romeo and Juliet: Romeo thinks Juliet is dead and the audience knows she is not, she's simply sleeping but Romeo kills himself in his grief.


Foreshadowing

Conflict

Directions: Find (in books, movies, or tv shows) or create (write/draw your own!) examples of 3 out of the 5 literary techniques below. Please write at least 2-3 COMPLETE sentences explaining how it is an example of the literary technique.

Name:

Motto:

Date:

Student #:

HW LE 1.3Monday, August 18, 20144:12 PM


Agenda:Do NowClasskeeping: Friday Letters!I Do: Assertions with the PBAWe Do: Evaluating assertionsYou Do: Draft assertionsMastery Check

Do Now:

Continue identifying evidence from the text in your graphic organizer from lesson 1.3. Silently and independently. Remember, you're looking for evidence that:

Supports your assertion (literary technique/device)1.Is just the right amount (not too much, not too little)2.Is from multiple parts of the text3.

I Do: Writing Assertions!

Assertion supports the ______________________________________________________________________________________________________ ______.1.

The order of assertions _____________________________________________________________________________________________________ ______.2.

The assertions are __________________________________________________________________________________________________________ _____.3.

We Do:

Literary Technique Drafted Assertion

Diction


O'Flaherty generates a feeling of suspense and fear for the sniper's safety by intentionally choosing ominous words which paint a dark picture in the reader's mind.

Diction


O'Flaherty creates suspense by using scary words.

Objective: SWBAT write three clear assertions stating how Roald Dahl uses literary devices to create suspense.

Essay Prompt: How do author's use literary devices to create suspense?Homework: None!

Name:LE 1.4 (Friday)Saturday, August 23, 201411:48 AM


You Do: Draft your three assertions for your 3 body paragraphs below in complete sentences. These may be messy; cross out, edit, and revise as much as you need. Be sure to refer to your three literary devices and evidence graphic organizer throughout.

Literary Technique Drafted Assertion

Mastery Check:

In complete sentences, write out each of your 3 assertions for your 3 body paragraphs. These out to be neat and formalized. You will receive feedback on Tuesday!

1.

2.

3.

Complete sentences1.Each assertion includes a literary technique

2.

Each assertion relates to how Roald Dahl creates suspense

3.

CFS:


3.


Homework: Thesis practice worksheet.

Objective: SWBAT construct clear, defensible, comprehensive, focused, and analytical thesis statements.


Agenda:Do NowI Do: Thesis Statements PBAWe Do: Evaluating a thesisYou Do: Writing thesisPeer ReviewMastery Check

Do Now:

Read the three quotes below. Pick the one that most resonates with you. In your writer's notebook, unpack the quote. What do you think the author was trying to say? How does it relate to you as an 8th grader, as a scholar, as a family member, as a human? Don't stop writing for the entire time!

Venus Williams"I don't focus on what I'm up against. I focus on my goals and I try to ignore the rest."1.

Lou Holtz"If you're bored with life - you don't get up every morning with a burning desire to do things - you don't have enough goals."2.

Denis Waitley"Learn from the past, set vivid, detailed goals for the future, and live in the only moment of time over which you have any control: now."3.

I Do: Thesis!

Thesis statement addresses all parts of the _____________________________________________________________________________________.1.

Thesis statement may ______________________________________________________________________________________________________.2.

Thesis statement is _______________________________________________________________________________________________________.3.

Thesis statement is ________________________________________________________________________________________________________.4.

Thesis statement is written in the ____________________________________________________________________________________________.5.

Name:LE 1.5 (Tuesday)Wednesday, August 13, 20142:27 PM


We Do:


Assertions:

O'Flaherty generates a feeling of suspense and fear for the sniper's safety by intentionally choosing ominous words which paint a dark picture in the reader's mind.

1.

O'Flaherty creates conflict between the sniper and his faceless enemies in order to keep his readers tense with anxiety.2.O'Flaherty uses foreshadowing to create suspense for the reader as they anticipate the terrible things that are to come, making the audience feel afraid for the sniper.

3.

Thesis:

O'Flaherty creates a strong sense of suspense in his short story, "The Sniper," by using dramatic diction, violent conflict, and foreshadowing, keeping me on the edge of my seat until the very last line of the story.

Evaluation:

Does Mrs. Gibson's thesis answer the prompt?Does Mrs. Gibson's thesis list the assertions?Is your teacher's thesis comprehensive?Is Mrs. Gibson's thesis focused? Is it zoomed in on the most important ideas?Is Mrs. Gibson's thesis analytical? Is it original and thoughtful?Is Mrs. Gibson's thesis written in the third-person?

You Do:

Write a first draft of your thesis statement. Make sure it answers the prompt and is grounded in your assertions!


Peer Review:

Read your partner's thesis statement. Then go through the checklist to determine if their thesis statement is of 8th grade quality:

Does your partner's thesis answer the prompt?Does your partner's thesis list the assertions?Is your partner's thesis focused? Is it zoomed in on the most important ideas?Is your partner's thesis analytical? Is it original and thoughtful?Is your partner's thesis written in the third-person?

What is one thing that your partner did exceptionally well in their thesis statement? Give them one glow below.

What is one thing that your partner could improve in their thesis statement? Give them one grow below.

Mastery Check:

Revise your thesis statement based on the feedback from your peer reviewer. Write a second draft of the thesis statement below. Be sure it hits all of the criteria for success!

Grading (Completed by Mrs. Gibson):Does the thesis answer the prompt?Does the thesis list the assertions?Is the thesis focused? Is it zoomed in on the most important ideas?Is the thesis analytical? Is it original and thoughtful?Is the thesis written in the third-person?

Comments:


Does the thesis list the assertions?Is the thesis focused? Is it zoomed in on the most important ideas?Is the thesis analytical? Is it original and thoughtful?Is the thesis written in the third-person?

____/5


Thesis Practice

Directions: Read the prompts below and the two thesis statements. Circle the BEST thesis statement and in 1-2 complete sentences, explain WHY you think it is the best thesis statement.

World War II was a costly war that had a major impact on the economy of the United States.a.World War II not only affected the economy of the United States, but also altered the role of the American government and the American people forever.

b.

Discuss the social, political and economic effects of World War II on the United States.1.

RATIONALE:

The Andes Mountains, the Amazon River and the Yucatan Peninsula are the three most significant physical features in Latin Ame rica, each of which play an important role in the region.

a.

Three physical features found in Latin America are the Andes Mountains, the Amazon River and the Yucatan Peninsula.b.

Describe three physical features of Latin America and their importance to the region.2.

RATIONALE:

While reading Agatha Christie's novel, And Then There Were None, I noticed the theme of trust throughout the text which taught me to be careful who I trust.

a.

In her novel, And Then There Were None, Agatha Christie explores the idea of trust and ultimately suggests to her audience that it is important to be careful who you trust.

b.

PROMPT: Agatha Christie includes many themes in her murder mysteries. Examine one theme from her novel, And Then There Were None.3.

RATIONALE:

Globalization in Indian has offered solutions to poverty for some and created more severe poverty for others.a.In India, globalization has meant new jobs for India's emerging middle class.b.

PROMPT: In South Asia, globalization has played a big role in the developing economies of the region. Discuss the positive and negative effects of globalization in one South Asian country.

4.

Name:

Motto:

Student #:

Date:

HW LE 1.5 (Tuesday)Saturday, August 23, 20142:47 PM


RATIONALE:


Agenda:Do NowI Do: ACE IT (and recipes)We Do: Body Paragraph 1You Do: Body Paragraph 1Mastery CheckObjective: SWBAT draft body paragraph 1 with a strong assertion, context,

evidence, interpretation, and transitions.


Homework: None!

Do Now:

In your writer's notebook answer the following questions:

What is your favorite home cooked meal?1.How do you make it? Be as specific as you can! Give me the exact ingredients and order of directions.2.Pretend that someone forgot the order of the ingredients that go into this meal. How would that change the flavor? Would it still be as good? Why or why not?

3.

How is following a recipe for a home cooked meal like writing a really good paragraph?4.

I Do: ACEing IT!

A: __________________________________________________________________________________________________________

C: __________________________________________________________________________________________________________

E: ___________________________________________________________________________________________________________

I: ___________________________________________________________________________________________________________

T: ___________________________________________________________________________________________________________

We Do:

____________________: O'Flaherty creates a feeling of tension and fear for the sniper's safety through his diction, intentionally using ominous words to paint a dark picture in the reader's mind.

____________________: He begins the short story with the sniper looking out on a roof in Dublin at dusk.

____________________: He describes the scene as being "enveloped in darkness" while "machine guns and rifles broke the silence of the night" (paragraph 1).

____________________: Through his vivid word choice, the reader senses the tension of the setting that the sniper is placed in and is anxious to keep reading.

____________________: Then, in the next paragraph,

____________________: O'Flaherty continues using unsettling language while introducing the character of the sniper.

____________________: He describes the sniper's eyes as "deep and thoughtful, the eyes of a man who is used to looking at death" (paragraph 3).

____________________: Again, the author has used words that give the reader just enough detail to pique the reader's curiosity about this mysterious sniper.

Name:

Student #:

LE 1.6 (Wednesday)Saturday, August 23, 20141:57 PM


curiosity about this mysterious sniper.

____________________: Immediately upon the story's opening, O'Flaherty has captured the audience's attention with his dramatic word choice, leaving the reader desperate to keep reading.

You Do:

Begin drafting Body Paragraph 1. Use your assertions and your evidence from lesson LE 1.3. Make sure you have every piece of ACE IT!

At this point, they have assertions and evidence, but have they discussed interpretation? I wonder if today is also spent on quality interpretation. Interpretation is not a retelling or summary of the evidence, but instead a statement that connects the evidence to the assertion by developing deeper meaning between the two.

Mastery Check:

Go back to your draft of body paragraph 1. Highlight your body paragraph with the following colors to make sure that you haveeach component of ACE IT. If you notice that you are missing a color, go back and add it!

Green: Assertion

Yellow: ContextOrange: EvidenceRed: InterpretationBlue: Transition

Evidence 1


Orange: EvidenceRed: InterpretationBlue: Transition


Evidence 2


Agenda:Do NowI Do: ContextWe Do: ContextYou Do: Body Paragraph 2Mastery Check

Homework: Finish writing and color-coding paragraphs 1 and 2 (if not in class)!

Objective: SWBAT draft body paragraph 2 with a strong assertion, context, evidence, interpretation, and transitions.


Do Now:

In your writer's notebook, write a letter to Roald Dahl. Include at least 1 comment about the way he wrote, "Lamb to the Slaughter," and one question. Make sure it is properly formatted as a letter!

I Do: Context

The context portion of our paragraph is where we ______________________ the plot so that the reader will know what's

going on before diving into our evidence. Pretend that the reader has _______________________ read the text! Explain in

your own words who, what, when, where and _________________________.

We Do: Context

ASSERTION: Roald Dahl uses foreshadowing to create suspense.

CONTEXT:

EVIDENCE: "When he came back, she noticed that the new drink was dark amber with the quantity of whiskey in it" (paragraph 12 ).

ASSERTION: Roald Dahl uses dramatic irony to create suspense.

CONTEXT:

EVIDENCE: "...acted quite normal...very cheerful...wanted to give him a good supper...peas...cheesecake...impossible that she ..."

You Do:


Name:LE 1.7 (Thursday)Wednesday, August 13, 20142:27 PM


Mastery Check:

Go back to your draft of body paragraph 2. Highlight your body paragraph with the following colors to make sure that you have each component of ACE IT. If you notice that you are missing a color, go back and add it!

Green: Assertion


Yellow: ContextOrange: Evidence


Orange: EvidenceRed: InterpretationBlue: Transition


Objective: SWBAT draft body paragraph 3 with a strong assertion, context, evidence, interpretation, and transitions.


Agenda:Do NowClasskeeping: Friday Letters!We Do: TransitionsYou Do: Body Paragraph 3Mastery Check

Homework: Finish writing paragraph 3 (if not in class)! Make sure that there are 2-3 transition words. Circle each transition word.

Do Now:

Read the following sentences carefully. Then, locate and circle each transition word that compares or contrasts.

Transition Words: Words or phrases that provide connection between ideas.

1. I was anxious to leave. However, we had to wait until Uncle Pete arrived.

2. Mother told us to hurry onto the bus. Otherwise, we all would have been caught in the rain.

3. I make my sandwich in the same way that Shawna does. We both use food that is peanut free because of our food allergies.

4. I asked about the homework, but neither Todd nor Antonio knew what had been assigned.

5. Even though it was very cold, Mary Beth did not wear a jacket.

I Do: Transitions…

Transition words help a written piece to flow more _______________________________________________. Without these types of words, your writing will become _______________________________. However, sometimes, when a writer is advised to use a new type of device in his or her writing, that person will tend to start sprinkling it in everywhere. Transition words should fall very ____________________________________ throughout a composition.

We Do:

Carla spent a long day working at the school and then cooking dinner for her family. In the morning she got a large cup of co ffee. •

Isaiah called to ask about the homework. Ishmael called to say he'd meet you on the basketball court tomorrow at 10 am.•

Jeff is packing his bags now and will be ready to go in a few minutes. Fill up the car with gas, please.•

Write down 2-3 transition words from the board that you are going to try to use today in body paragraph 3!

1.

2.

3.

Name:LE 1.8 (Friday)Wednesday, August 13, 20142:27 PM


You Do:


Mastery Check:

Go back to your draft of body paragraph 3. Use the checklist below to make sure that you have each component of the checklistin order

Assertion

ContextEvidenceInterpretationTransition

Context

Evidence 1


EvidenceInterpretationTransition

ContextEvidenceInterpretationTransition

Evidence 1

Evidence 2


Name:

Objective: SWBAT draft their introductory paragraphs with a sophisticated hook, framing and thesis.

Essay Prompt: How do authors use literary devices to create suspense?

Agenda:Do NowI Do: Introduction VisualWe Do: Model Intro ParagraphYou Do: Drafting IntroductionMastery Check: Introductions

Homework: None!

Do Now:

Unpack and respond to one of the following quotes in your writer's notebook:

First impressions matter. Experts say we size up new people in somewhere between 30 seconds and two minutes.Elliott Abrams

It's pretty simple, pretty obvious: that people's first impressions of people are really a big mistake.Vincent D'Onofrio

I Do: Introductions...

Grab your reader's attention! Draw them in! Try using a surprising fact, a _________________, or a quote by someone else about the topic!

Give your reader the ______________________ info that they need to understand what you're writing about. Assume they've never read the story you're writing about or heard about suspense or literary devices!

Tell your reader straight up what you're about to _______________!

We Do:

Hook: Nearly 3,000 people died in the Irish Civil War in the early 1920's, all of them Irish citizens; it was family member against family member, father's against sons, brother's against one another.

Does this accomplish the purposes of a hook? Why or why not?

‼

LE 1.9 (Monday)Saturday, August 30, 20142:44 PM


Framing: The Irish author Liam O'Flaherty wrote a short story set in the early weeks of the Irish Civil War. He wrote about a sniper fighting for the IRA (Irish Republican Army), sharp shooting off the roof in city full of IFS (Irish Free States) soldiers.

Do theses sentences accomplish the purposes of framing? Why or why not?

Thesis: O'Flaherty creates a strong sense of suspense in his short story, "The Sniper," by keeping the reader on the edge of their seat until the very last line of the story.

Does this sentence accomplish the purpose of a thesis? Why or why not?

You Do:

Get started writing your introduction! Make sure it has a hook, framing, and your thesis!

Mastery Check:

Go fish...a.Tell your reader what the essay is going to be all aboutb.Introduce your reader to the important background informationc.Draw your reader into your essay and catch their interestd.

The hook in an introductory paragraph is supposed to…1.

Who knows...a.Tell your reader what the essay is going to be all aboutb.Introduce your reader to the important background informationc.Draw your reader into your essay and catch their interestd.

The framing sentences in an introductory paragraph is supposed to…2.

None of the belowa.The thesis statement in an introductory paragraph is supposed to…3.


None of the belowa.Tell your reader what the essay is going to be all aboutb.Introduce your reader to the important background informationc.Draw your reader into your essay and catch their interestd.


Name: Agenda:Do NowI Do: PBA ConclusionsWe Do: Model Conclusion ParagraphYou Do: Drafting ConclusionMastery Check: Conclusions

Homework: Finish Intro and Conclusion (if not in class)

Objective: SWBAT develop an appropriately structured conclusion paragraph that supports their thesis.

Essay Prompt: How do author's use literary techniques to create suspense?

Do Now:

Read the excerpt below from the Harvard Writing Center. Annotate the text. Then answer the questions below.

Ending the Essay: Conclusions

So much is at stake in writing a conclusion. This is, after all, your last chance to persuade your readers to your point of view, to impress yourself upon them as a writer and thinker. And the impression you create in your conclusion will shape the impression that stays with your readers after they've finished the essay.

The end of an essay should therefore convey a sense of completeness and closure as well as a sense of the lingering possibilities of the topic, its larger meaning, its implications: the final paragraph should close the discussion without closing it off.

To establish a sense of closure, you might do one or more of the following:Conclude by linking the last paragraph to the first, perhaps by reiterating a word or phrase you used at the beginning.

•

Conclude by redefining one of the key terms of your argument. For example, an essay on Marx's treatment of the conflict between wage labor and capital might begin with Marx's claim that the "capitalist economy is . . . a gigantic enterprise of dehumanization"; the essay might end by suggesting that Marxist analysis is itself dehumanizing because it construes everything in economic -- rather than moral or ethical-- terms.

•

Conclude by considering the implications of your argument (or analysis or discussion). What does your argument imply, or involve, or suggest? For example, an essay on the novel Ambiguous Adventure, by the Senegalese writer Cheikh Hamidou Kane, might open with the idea that the protagonist's development suggests Kane's belief in the need to integrate Western materialism and Sufi spirituality in modern Senegal. The conclusion might make the new but related point that the novel on the whole suggests that such an integration is (or isn't) possible.

•

Copyright 1998, Pat Bellanca, for the Writing Center at Harvard University

What is the point of the conclusion paragraph?1.

What does a conclusion paragraph need to include?2.

LE 1.10 (Tuesday)Saturday, August 30, 20142:44 PM


I Do: Conclusions

We Do:

Restated Thesis: Clearly, O'Flaherty does an exceptional job of utilizing several literary devices to create suspense in his short story, "The Sniper."

Does this sentence accomplish the purposes of a restated thesis?

Mapping: Through his dark and dramatic word choice, the audience is drawn into the danger of the scene and continues reading to find out what will happen when the sniper engages in enemy cross fire. The conflict between the sniper and his hidden enemy, filled with evasion and trickery, makes the audience anxious for a resolution. And finally, with foreshadowing, O'Flaherty makes the reader constantly question, "What will happen next?", although no hint or warning could prepare the audience for the final revelation that the sniper has murdered his own brother.

Do these sentences accomplish the purposes of mapping?

So What Moment: All in all, O'Flaherty is a master of suspense and is a model for all writers aspiring to use literary devices as a means of deeply engaging their readers.

Does this sentence accomplish the purposes of a So What moment?

Rephrase the main idea of the paper in different words

Summarize the key assertions of your essay. Prove to your audience that you've accomplished what you set out to accomplish! Give them a map of where you've been in your essay.

Tell your reader why all of this matters. Feel free to link this to bigger topics or broader ideas!

‼


You Do:

Get started writing your conclusion! Make sure it has a restated thesis, summarizes your argument, and a "so what" thought!

Mastery Check:

It's the very first thing your audience will reada.It's the very last chance you have to convince your audience of your argumentb.It's where you include your evidence in the essayc.It's the titled.

The conclusion paragraph is important because…1.

Restate the main ideas of your thesis in different wordsa.Include a copy your thesis word for wordb.Be completely different from your thesisc.All of the aboved.

The conclusion paragraph should…2.


All of the aboved.

Wondering "who cares?"a.Asleepb.Confusedc.Realizing why your essay was importantd.

You should leave your audience…3.


Name: Agenda:Do NowI Do: Laptop ProcedureWe Do: Setting up google docsYou Do: Typing essayMastery Check

Homework: None!

Objective: SWBAT polish and publish their literary essays by typing them on laptops.

Essay Prompt: How do author's use literary techniques to create suspense?

Do Now:

In your writer's notebook, answer the following questions:

What do you enjoy about writing on a Chrome book?1.What is challenging for you about writing on a Chrome book?2.How does working on a Chrome book prepare you to be a high school and college ready scholar?3.

I Do: Modeling Laptop Process and Google Doc Set up

We Do: Practicing Laptop Process and Google Doc Set up

You Do: Get going! Type up your essay!

Closing Question:

What paragraph are currently typing (intro, body 1, body 2, body 3 or conclusion)?

How much more time do you think you'll need to finish typing your essay (1 day, 2 days)?

LE 1.11 (Wednesday)Saturday, August 30, 20142:44 PM


Objective: SWBAT edit and revise their essays for word choice.

Name: Agenda:Do NowI Do: Why is word choice important?We Do: Brainstorming synonymsYou Do: Editing and revising for word choiceMastery Check

Homework: Editing for Word Choice.

Do Now:

In your writer's notebook, describe your bedroom. Try to paint a picture in your reader's mind as you write. You may NOT use any of the following words:

Good Very A lot Bad Really Big

Stuff Pretty Little Things Nice Okay

I Do: https://www.youtube.com/watch?v=B1tOqZUNebs

Stop and Jot: Why is word choice important?

We Do:

Good Suspense

You Do:

Continue typing your essays in the Chrome books! You need to edit and revise at least 1 word in EACH PARAGRAPH with a stronger synonym. Highlight your new word in yellow and in a comment tell me which word it used to be and why you decided to change it.

Extra Credit:

Rewrite the following paragraph to replace all of the vague words with more specific words. Try to be as clear and meaningful as possible to create a vivid image in your reader’s mind.

The weather outside was really nice. I had a chance to do a lot of great stuff with my friends. I have pretty nice friends. At the end of the day, we ate a big meal with all of my favorite things. What a nice time!

LE 1.12 (Thursday)Saturday, August 30, 20142:44 PM


https://www.youtube.com/watch?v=B1tOqZUNebs

Name: Student #:

Motto: Date:

Directions: Rewrite each group of sentences to avoid repeating words. Remember that you can either take out a repeated word or find a synonym to use instead. There is more than one way to rewrite each item.

1. I remember August 14 best of all because it was a perfect day. The weather was sunny and perfect, and the beach looked perfect as we stepped onto the sand.

2. A terrible disaster occurred. It is hard to imagine anything more terrible. Robert had made a terrible mistake.

3. Next year will be very important. It will be filled with important decisions. The important steps I take then will affe ct the rest of my life.

4. This article contains good ideas for saving money. It explains a good, easy way to find bargains when you shop. It also has some good tips on putting your money to work for you.

Grade: _____/4

HW LE 1.12Saturday, August 30, 20143:28 PM


Grade: _____/4


Do Now: Complete the Grammar, Citation, and Interpretation exercises below to the best of your ability.

GRAMMAR: There are at least 5 errors in the paragraph below. Circle and correct each of them.

They were in love, passionate about each other, until one conversation changed it all and suddenly she was a murder and he wa s dead on

the floor. Roald Dahl wrote a story about a married couple who had an odd relationship, but still loved each other until one day when things

went horribly wrong. Roald Dahl uses literary techniques such as dramatic irony, Diction, and foreshadowing in the story Lamb to the

slaughter to help us as readers understand what's going on and to create suspense.

CITATIONS: For the following questions mark up the lines of evidence below.

Where does the quote start? Put a quotation mark there.1.Where does the quote end? Put a quotation mark there.2.Where does the character in the quote start talking? Put an apostrophe there.3.Where does the character in the quote stop talking? Put an apostrophe there.4.Where does the sentence end? Put a period there.5.

She noticed there was a little muscle moving near the corner of his left eye. This is going to be a bit of a shock to you, I' m afraid, he said. But I've

thought about it a good deal and I've decided the only thing to do is tell you right away. I hope you won't blame me too much (paragraph 33)

INTERPRETATION:

A: Mr. Maloney is drinking more than usual after a

hard day and is about to tell his wife something

bad. She does not take the news very well and

ends up killing him.

B: This is an example of foreshadowing because

the change in routine indicates that something

unusual is about to happen next. The

foreshadowing sends of danger alarms in the

readers head, making them ponder extensively

what he is going to say next, scared to read on, not

sure if they want to read about what is going to

happen between Mr.Maloney and Mrs. Maloney,

but all the while knowing it is going to be too good

to pass up.

C: When Mr. Maloney makes himself a second

drink it is a warning of something bad that is going

to happen next. After this Mr. Maloney goes on to

tell his wife that he's going to leave her, which

proves that this is foreshadowing because it was a

sign of what was to happen next.

Assertion: Roald Dahl uses foreshadowing to create suspense.

Context: At the beginning of the short story, Mr. Maloney returns home to his wife as usual but then breaks their routine by pourly himself a second,

stronger drink:

Evidence: "She watched him as he began to sip the dark yellow drink, and she could see little oily swirls in the liquid because it was so strong" (paragraph

15).

Interpretation

Objective: SWBAT make meaningful edits and revisions to their final literary essays.

Homework: None.

Name:

Motto:

Date:

Student #:

Agenda:Do NowI Do: Essay Feedback, CFS, and On-DemandWe Do: Review Do NowYou Do: Independent RevisionsMastery Check: Goal Setting

LE 1.13 (Monday)Friday, September 12, 201411:55 AM


Which piece of interpretation is strongest? A B C1.

Why did you choose this piece of interpretation over the others?2.

Based on your analysis, what could be done to strengthen the weaker pieces of interpretation?3.

What is the point of interpretation in a body paragraph?4.

Revisions Criteria for Success:

Evidence of thoughtful revisions with commentary (3).

Paper is complete and professional (no conjunctions) (1).

Correctly cites evidence using parenthesis, quotation marks, commas and periods (1).

Total

Closing Question: What is one thing that you are going to work on doing better on the On-Demand essay this week? How are you going to improve that portion of your writing? Be specific!


Objective: SWBAT construct a literary essay in response to a short story analyzed in literature class on-demand by taking a performance assessment.

Name:

Motto:

Date:

Student #:

Agenda:Do NowAnnotatingPlanning

Homework: Finish annotating and planning for the On-Demand.

PROMPT: How does Edgar Allen Poe use literary devices to create suspense?

“The Tell-Tale Heart,” by Edgar Allan Poe

True! - nervous - very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened

my senses - not destroyed - not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the

earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily - how calmly I can tell you the whole

story.

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was

none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no

desire. I think it was his eye! yes, it was this! He had the eye of a vulture - a pale blue eye, with a film over it. Whenever it fell upon

me, my blood ran cold; and so by degrees - very gradually - I made up my mind to take the life of the old man, and thus rid myself of

the eye forever.

Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded - with what caution - with what foresight - with what dissimulation I went to work! I was never kinder to the old man than

during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it - oh so gently!

And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, so that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly - very, very slowly, so

that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him

as he lay upon his bed. Ha! - would a madman have been so wise ass this? And then, when my head was well in the room, I undid the

lantern cautiously - oh, so cautiously - cautiously (for the hinges creaked) - I undid it just so much that a single thin ray fell upon the

vulture eye. And this I did for seven long nights - very night just at midnight - but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went

boldly into the chamber, and spike courageously to him, calling him by name in a hearty tone, and inquiring how he had passed the

night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked upon him

while he slept.

< 2 >

Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did

mine. Never before that night, had I felt the extent of my own powers - of my sagacity. I could scarcely contain my feelings of

triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back - but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,)

and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out - 'Who's there?'

I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He

was still sitting up in the bed listening; - just as I have done, night after night, hearkening to the death watches in the wall.

Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief - oh, no! - it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night,

just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that

distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He

had been trying to fancy them causeless, but could not. He had been saying to himself - 'It is nothing but the wind in the chimney - it is only a mouse crossing the floor,' or 'it is merely a cricket which has made a single chirp.' Yes, he had been trying to comfort himself

with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow

before him, and enveloped the victim. And it was the mournful influence of ht unperceived shadow that caused him to feel - although

he neither saw nor heard - to feel the presence of my head within the room.

< 3 >

When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little - a very, very little crevice

in the lantern. So I opened it - you cannot imagine how stealthily, stealthily - until, at length a simple dim ray, like the thread of the

spider, shot from out the crevice and fell full upon the vulture eye.

It was open - wide, wide open - and I grew furious as I gazed upon it. I saw it with perfect distinctness - all a dull blue, with a

hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's face or person: for I had

LE 1.14 (Tuesday)Saturday, September 06, 20145:47 PM


http://www.eastoftheweb.com/short-stories/UBooks/TelTal.shtml#1






hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's face or person: for I had

directed the ray as if by instinct, precisely upon the damned spot.

And have I not told you that what you mistake for madness is but over acuteness of the senses? - now, I say, there came to my

ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the

old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.

But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the

ray upon the eye. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant.

The old man's terror must have been extreme! It grew louder, I say, louder every moment! - do you mark me well? I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as

this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I

thought the heart must burst. And now a new anxiety seized me - the sound would be heard by a neighbour! The old man's hour had

come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once - once only. In an instant I dragged him

to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart

beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it

there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.

< 4 >

If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned; and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the

legs.

Then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye - not even his - could have detected any thing wrong. there was nothing to wash out - no

stain of any kind - no blood-spot whatever. I had been too wary for that. A tub had caught all - ha! ha!

When I had made an end of these labours, it was four o'clock - still dark as midnight. A the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, - for what had I now to fear? There entered three men, who

introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night;

suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

I smiled, - for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I

mentioned, was absent in the country. I took my visitors all over the house. I bade them search - search well. I led them, at length, to

his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room,

and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon

the very spot beneath which reposed the corpse of the victim.

The officers were satisfied. My manner had convinced them. I was singularly at ease. They say, and while I answered cheerily, they

chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my

ears: but still they sat and still chatted. The ringing became more distinct: - it continued and became more distinct: I talked more

freely to get rid of the feeling: but it continued and gained definiteness - until, at length, I found that the noise was not within my ears.

< 5 >

No doubt I now grew very pale; - but I talked more fluently, and with a heightened voice. Yet the sound increased - and what

could I do? I was a low, dull, quick sound - much such a sound as a watch makes when enveloped in cotton. I gasped for breath - and

yet the officers heard it not. I talked more quickly - more vehemently; but the noise steadily increased. I arose and argued about

trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to

and fro with heavy strides, as if excited to fury by the observations of the men - but the noise steadily increased. Oh God! what could I

do? I foamed - I raved - I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder - louder - louder! And still the men chatted pleasantly, and smiled. Was it possible

they heard not? Almighty God! - no, no! They heard! - they suspected! - they knew! - they were making a mockery of my horror! -this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear

those hypocritical smiles no longer! I felt that I must scream or die! and now - again! - hark! louder! louder! louder! louder!

'Villains!' I shrieked, 'dissemble no more! I admit the deed! - tear up the planks! here, here! - it is the beating of his hideous

heart!'








Literary Techniques!

Annotation Symbol

Literary Technique

Examples DEFINITION

Dark Comedy Monty Python and the Holy Grail: "It's a mere flesh wound!" Humor that makes light of otherwise serious subject matter.

Dramatic Irony Romeo and Juliet: Romeo thinks Juliet is dead and the audience knows she is not, she's simply sleeping but Romeo kills himself in his grief.

Dramatic irony occurs when the audience knows something the characters do not.


The intentional choice and use of words and phrases in speech or writing.

Foreshadowing

An advance warning or sign of what is to come in the future.

Conflict

Struggle, either internal or external, between characters, nature, the supernatural, or other forces, that move the plot forward.

Literary Device Evidence 1 Evidence 2


Assertion 1

Assertion 2

Assertion 3

Thesis


Date:

Student #:

Name:

Motto:

PROMPT: How does Edgar Allen Poe use literary devices to create suspense?

Name:

Did I use complete sentences? (Capital letters and periods)Is my writing neat and legible?Did I reread for spelling and grammar?Did I meet each of the below expectations for an 8th grade writer?Did I write in the third person throughout (no "I, we, you")?

Student Checklist:

Teacher Rubric:

C rit er ia 1 2 3 4 5 6 7

Generally body paragraphs

contain topic sentences

that frame each paragraph.

Some topic sentences are

related to the topic o f the

paper.

M ost topic sentences are

relevant to the topic o f the

paper.

A ll topic sentences are

directly relevant to the topic

o f the paper.

Each topic sentence is

directly relevant to the

thesis statement and some

topic sentences are

assertions.

Sequence of assertions

may be random.



thesis and most topic

sentences are assertions.

Sequence of assertions is

attempted.

Each topic sentence is an

assertion that supports the

thesis statement.


mostly intentional but may

not effectively advance the

argument.

Each assertion provides

defensible and relevant

support for the larger

argument of the thesis

statement. Some

assertions are clarified in

scope.


intentional and sometimes

advances the argument.

Paragraphs are absent yet

ideas and information relate

to each other.

Groups related ideas and

information logically. M ay

provide a concluding

statement or section that

connects to the topic.


information logically.

Organizes ideas into

separate and distinct body

paragraphs. Provides a

concluding statement or

section that connects to the

topic.



paragraphs.

Content o f paragraphs is

generally appropriate.

Concluding statement or

section links to

introduction.

Reasonable essay

structure.


mostly appropriate.


section links to thesis.

Reasonable essay

structure.

Body paragraphs include

appropraite content in a

logical internal structure.

Introduction and conclusion

are appropriately structured

and conclusion supports

thesis.

Well-developed essay has

logical internal structure,

building to become more

convincing and complete.

Introduction is

sophisticated and the

conclusion provides

closure.

Some evidence selected is

connected to the main idea

of the paper.

M ost evidence selected is


of the paper.


connected to the topic o f

the paragraph.

A ll evidence selected is


the paragraph. (Less

sources cited than 1/2 -1)

Almost all evidence

selected is connected to

assertion, although some

may not be directly relevant

.

evidence is adequate in

amount and when

applicaple, drawn from

multiple sources* (*1/2 or 1/2-

1).

A lmost all evidence

selected is directly relevant

to assertion; Some

evidence strongly supports

assertion; attempts to

create a progression of

evidence.

.


amount, and when

applicable, drawn from

multiple sources* (*1/2 + 1

Almost all evidence

selected strongly supports

assertion, generally creating

a purposeful progression of

evidence;

.


amount and drawn from

multiple sources* and parts

o f the text(s) (1/2 + 2

starting in 8th grade IA2) .

Attempts to clarify or

explain one piece of

evidence. M ay restate the

evidence.

Attempts to clarify and

explain the meaning of

some evidence as needed .


explain the meaning of most

evidence as needed .

A lmost all evidenced is

clarified or explained as

needed .

Attempts to analyze

although analysis may be

innacurate or implausible.



needed . Some evidence is

analyzed.

Analysis is generally

plausible and attempts to

relate back to the assertion.

M ost evidence is analyzed

and connected to the

assertion;

.

analysis is generally logical

and accurate;

.



assertion;

.

analysis is generally

focused, logical, and

accurate;

.

some rough use of word

glue (i.e. repeated words)

and some rough use of

logic glue (i.e. transitions)

Overall Score: _______/28

Comments:

LE 1.14 (Wednesday)Tuesday, September 09, 20148:47 AM


C rit er ia 1 2 3 4 5 6 7





related to the topic of the

paper.


relevant to the topic of the

paper.



of the paper.




topic sentences are

assertions.


may be random.






attempted.



thesis statement.




argument.





statement. Some


scope.






to each other.













topic.



paragraphs.




section links to

introduction.

Reasonable essay

structure.


mostly appropriate.



Reasonable essay

structure.







thesis.





Introduction is


conclusion provides

closure.

M akes no attempt to

contextualize.

M akes incorrect

assumptions about the

reader's background

knowledge.

M ay attempt to provide

context that is inaccurate,

random, or confusing.

Provides accurate context

to at least one piece of

evidence.

Attempts to provide

necessary context to some

evidence although it may be

rough or missing in some

places.

Attempts to provide

necessary context to most

evidence presented,

although it may be rough in

some places.

Smoothly and mostly

judiciously incorporates

accurate basic background

information about almost all

o f evidence.



of the paper.



of the paper.



the paragraph.

All evidence selected is


the paragraph.

Almost all evidence




.


amount and when


multiple sources.

Almost all evidence


to assertion; Some




evidence.

.


amount, and when


Almost all evidence




evidence;

.



multiple sources and parts

o f the text(s).

A t t e m p t s t o c la r if y o r

e xp la in o n e p ie c e o f

e v id e n c e . M a y re s t a t e t h e

e v id e n c e .

A t t e m p t s t o c la r if y a n d

e xp la in t h e m e a n in g o f

s o m e e v id e n c e a s n e e d e d .

A t t e m p t s t o c la r if y a n d

e xp la in t h e m e a n in g o f m o s t

e v id e n c e a s n e e d e d .

A lm o s t a ll e v id e n c e d is

c la r if ie d o r e xp la in e d a s

n e e d e d .

A t t e m p t s t o a n a lyze

a lt h o u g h a n a lys is m a y b e

in n a c u ra t e o r im p la u s ib le .

A lm o s t a ll e v id e n c e d is

c la r if ie d o r e xp la in e d a s

n e e d e d . S o m e e v id e n c e is

a n a lyze d .

A n a lys is is g e n e ra lly

p la u s ib le a n d a t t e m p t s t o

re la t e b a c k t o t h e a s s e rt io n .

M o s t e v id e n c e is a n a lyze d

a n d c o n n e c t e d t o t h e

a s s e rt io n ;

.

a n a lys is is g e n e ra lly lo g ic a l

a n d a c c u ra t e ;

.

M o s t e v id e n c e is a n a lyze d

a n d c o n n e c t e d t o t h e

a s s e rt io n ;

.

a n a lys is is g e n e ra lly

f o c u s e d , lo g ic a l, a n d

a c c u ra t e ;

.

s o m e ro u g h u s e o f w o rd

g lu e ( i.e . re p e a t e d w o rd s )

a n d s o m e ro u g h u s e o f

lo g ic g lu e ( i.e . t ra n s it io n s )

Extra Credit--Word Choice Edits: _______

Comments:

Name Overall Score: ____/35Literary Essay: Roald Dahl and SuspenseTuesday, September 09, 201412:12 PM


Name Overall Score: ____/28

C rit er ia 1 2 3 4 5 6 7





related to the topic of the

paper.


relevant to the topic of the

paper.



of the paper.




topic sentences are

assertions.


may be random.






attempted.



thesis statement.




argument.





statement. Some


scope.






to each other.













topic.



paragraphs.

Content of paragraphs is



section links to

introduction.

Reasonable essay

structure.

Content of paragraphs is

mostly appropriate.



Reasonable essay

structure.







thesis.





Introduction is


conclusion provides

closure.



of the paper.



of the paper.


connected to the topic of

the paragraph.

A ll evidence selected is

connected to the topic of

the paragraph. (Less

sources cited than 1/2 -1)

Almost all evidence




.


amount and when


multiple sources* (*1/2 or 1/2-

1).

A lmost all evidence


to assertion; Some




evidence.

.


amount, and when


multiple sources* (*1/2 + 1

Almost all evidence




evidence;

.



multiple sources* and parts

of the text(s) (1/2 + 2

starting in 8th grade IA2) .

Attempts to clarify or

explain one piece of

evidence. M ay restate the

evidence.


explain the meaning of

some evidence as needed .


explain the meaning of most

evidence as needed .



needed .

Attempts to analyze

although analysis may be

innacurate or implausible.

Almost all evidenced is


needed . Some evidence is

analyzed.

Analysis is generally

plausible and attempts to

relate back to the assertion.



assertion;

.

analysis is generally logical

and accurate;

.



assertion;

.

analysis is generally

focused, logical, and

accurate;

.

some rough use of word

glue (i.e. repeated words)

and some rough use of

logic glue (i.e. transitions)

On Demand: Poe and SuspenseTuesday, September 16, 201412:40 PM


objective: swbat hypothesize how roald dahl creates...

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