Fennville 4th Grade
133350288290ELAMichigan State StandardsResource Materials Packet4000020000ELAMichigan State StandardsResource Materials Packet4th GradeLaunching with Realistic Fiction Stories Unit 107/27/16 Writing Unit of Study4th Grade – Launching with Realistic Fiction Stories, Unit 1Table of ContentsGeneral ResourcesMentor Text and Criteria1Writing Process Steps – Generic Poster3On-demand Assessment and General Assessment Background Information (same sheet in Lesson Plan packet)4Some Possibilities for Purposeful Use of Share Time5Rehearsing and Planning Bookmark6Working With Your Partner7Resources Specific to Unit of StudyBackground Information on Journey Checklists: Process and Product 8Process Journey Checklist - Specific to the Unit 9 Story Arc using Dancing in the Wings by Debbie Allen 10Detail Hand11Collecting Story Ideas12 Developing a Character13Anchor Chart: How to Write a Fiction Story14Summary and Storyteller from The Three Little Pigs15Anchor Chart: When to Start a New Paragraph…………………………………………………………………………………………………………………..……16Anchor Chart: Leads…………………………………………………………………………………………………………………………………………………………………17Anchor Chart: Text Parts and Elements…………………………………………………………………………………………………………………………………...18Anchor Chart: Summarizing and Storytelling Voice……………………………………………………………………………………………………………..…..19Blank Vs. Revealing Dialogue.20Anchor Chart: Revising Endings.21Needs Paragraphs.22List of Roles for Students During Writing Celebration.23Prepositional Words to Make Prepositional Phrases.24Small Box Paper, page 1.25Small Box Paper, page 2.26Rules for Punctuating and Formatting Dialogue.27Transitional Words and Phrases.28Class Profile of Teaching and Learning Points………………………………………………………………………………………………………………………...…29Reflection for Writing Realistic Fiction Stories Unit 1 ……………………………………………………………………………………………………..………..31Please also review: Immersion Phase: Creating a Vision for Writing – located on Atlas under Resources SectionThis packet will give you information and samples for Immersion and subsequent lessons.Mentor Texts and Criteria – Launching with Realistic Fiction Stories, 4th grade Unit 1This is a suggested list to consider when collecting possible mentor text. Please review books you have available that also meet the criteria and add to the list.4th Grade Realistic Fiction Stories Criteria: 1) Big or strong emotion with focus on a real life story, 2) Students can relate to story (moments from their lives), 3)Main character shows external and internal traits and is motivated by something or struggles, has wants and/needs as evidence through writing 4) Easily identifiable plot line – events/scenes easy to Identify and list, 5) events/scenes worsen for the character until the climax –the problem gets worse and worse, 6) Heart of the message is evident, 7)Details included (), 8) Qualities of good writing evident as effective lead, storyteller’s voice, internal thinking, heart of message, strong endings, dialogue, etc. 9) High interest level. Literature – Trade Book SuggestionsTitleAuthorNotes to TeacherBirthday Box*Found in Birthday Surprises: Ten Great Stories to Unwrap by Johanna HurwitzJane YolenBig Emotion, Heart of Message - many teaching possibilitiesChicken Soup for the Kids Soul seriesStories by many notable authorsBig Emotion, Short stories/student interest/ many teaching possibilitiesDancing in the Wings*Debbie AllenBig Emotion, Heart of Message, Lead, ending, dialogue, problem worsens, clear scenesEvery Living Thing*Cynthia RylantBig Emotion, short stories - Excellent- many teaching possibilitiesGrandpa’s Face*Eloise GreenfieldBig Emotion, Heart of Message, dialogue, craft techniquesThe Marble Champ*Found in Baseball in AprilGary SotoUse for character development, Heart of Message, Beginning, Ending, paragraphsThe Memory String*Eve BuntingIdeas, Dialogue, Heart of Message, character change, clear scenesStevie*John SteptoeDialogue, Actions, clear scenes, heart of messageToo Many Tamales*Gary SotoDialogue, Beginnings, Details, Ideas, scenes, endingYour Name in Gold*Chicken Soup for the Kids Soul, 1998. By A.F. BaumanUse for heart of message, Paragraphing, Dialogue, scenes- excellent-many teaching opportunitiesThe Tiger RisingKate DicamilloCould use short excerpts that fit mentor criteriaStone FoxJohn Reynolds GardinerCould use short excerpts that fit mentor criteria* = Used in sessions throughout unit of studyStudent Authored Work Code: SW AuthorTopic/Title Notes to TeacherNumerousWriting Pathways, Lucy CalkinsExcellent resource – many possibilitiesMentor Texts, ContinuedTeacher Authored Work Code: TW AuthorTopic/Title Notes to TeacherCommon Core Code: CCAuthorTopic/Title Notes to TeacherTeachers College () Code: TCAuthorTopic/Title Notes to TeacherWebsites Code: WWW (Teacher’s College) On-Demand Assessment and General Assessment Background InformationOn-Demand Writing Performance Assessment ExplanationEach district should develop a comprehensive writing assessment plan that includes on-demand writing performance assessment tasks. Please follow district guidelines for the specifics of administering, scoring, and analyzing this task. It is highly recommended that teachers conduct on-demand writing assessments throughout the year. Data collected from analyzing this writing will allow teachers to begin to develop insight into what their young writers know and can do on their own, where they need additional help, and possible next teaching points. For more comprehensive information, please read: Calkins, Lucy. (2015.) Writing pathways: Performance assessments and learning progressions, grade K-8. Portsmouth, NH: Heinemann.When to Conduct the On-DemandAn On-Demand Writing Performance Assessment, if given, should be administered before the Immersion Phase begins.General Assessment Background InformationPlease note that assessments were not created for the MAISA 3-5 writing units of study. Instead, Oakland Schools highly recommends using Writing pathways: Performance assessments and learning progressions, grade K-8 by Lucy Calkins as an assessment resource. Writing Pathways was designed to work with any curriculum aligned to the Common Core State Standards. This toolkit has comprehensive resources available, as well as possible mentor text. Each 3rd through 5th grade MAISA unit is generally aligned with Writing Pathways’ learning progressions and teaching rubrics. Using Calkins’ assessment tools (versus developing your own), allows more time to be devoted to studying the assessment measures, analyzing data collected, and planning for future needs (e.g. student, class, grade level and district). The following are some of the components available in the Writing Pathways assessment resource. If districts choose not to utilize Writing Pathways, they should consider creating similar components to support their assessment of student writing and subsequent teaching. Learning Progressions for each text typeOn-Demand Performance Assessment Prompts for each text typeTeaching RubricsStudent ChecklistsLeveled Student Writing SamplesAnnotated Demonstration TextsWriting Process Learning ProgressionsThe text also includes an extensive background section on areas such as: Components of the Toolkit, Conducting On-Demand Performance Assessments, Norming Meetings and Subsequent Scoring, Using Results and Adapting Writing Curriculum, Self-Assessment Checklists, Tracking Data, Teaching Using Learning Progressions, Transference to Content Areas, Designing Reading-Writing Performance Assessments, etc.Source: Calkins, Lucy. (2015.) Writing pathways: Performance assessments and learning progressions, grade K-8. Portsmouth, NH: Heinemann.assessments and learning progressions, grade K-8. Portsmouth, NH: Heinemann.Some Possibilities for Purposeful Use of the Share TimeEach lesson has a share component. Modify based on students’ needs. The following are other share options.15240015609500NamePurposeMethodFollow-Up on Mini-LessonTo reinforce and/or clarify the teaching pointShare an exemplar model (student or teacher)Share a student who had difficulty and the way in which he/she solved the problemShare the story of a conference from the independent work timeProvide another opportunity for active engagementProvide a prompt to initiate student conversation, “Turn and tell your partner…”Problem SolvingTo build community and solve a problemReviewTo recall previous strategies /prior learningTo build repertoire of strategiesTo contextualize learningPose a “review” question to the class: “Today we learned one revision strategy. What other revision strategies do you use?” These strategies may be listed on a chart.Looking Ahead to TomorrowIntroduce a new teaching point – set-up for the next mini-lessonCelebratoryCelebration of learningBoost student moralePromote membership in the “literacy club”Share the work of 2-3 studentsProvide an opportunity for a whole class share: “You are all such amazing writers - you wrote so much today! Writers, hold up your open notebooks so that we can see all of the great work you have done.”Source: Teachers College Reading and Writing ProjectWorking With Your PartnerListening Purpose - Tell partner what s/he should listen for in your piece. How can your partner help you?Read/Listen Talk/DiscussFlag spot/s needing changesSwitch RolesRevise or Edit – Make ChangesBACKGROUND ON JOURNEY CHECKLISTS – PROCESS AND PRODUCTOne of the primary goals of this unit, or instruction for that matter, is for students to successfully do this work independently. To that end, teachers must teach steps for writing a particular piece. These steps should be consistent within and across pieces, as well as text types. This unit is based on having students cycle through the writing process: Generating ideas for writing, rehearsing, planning, drafting, revising and editing. To guide students from beginning to end, we advocate two different journey checklists: a process checklist and a product-driven one. The process journey checklist encompasses generating ideas, rehearsing, planning and drafting. It is written specific to the unit. In contrast, the product checklist focuses more on revising and editing. This checklist aligns to either the text type of narrative, opinion, or Information. Also, it contains specific items included in Common Core State Standards for Writing.Process Journey Checklist – A sample one is included in each unit. Modify and change based on students’ background and experience with the writing process, as well as other items a teacher wants to emphasize. This checklist will help guide students as they navigate multiple times in writing a piece from start to finish. They will not have to rely on the teacher to tell them what to do next. Often the checklist is built one item at a time as it is introduced or reviewed in lessons. Once all steps have been taught, students are ready to try the process again without as much teacher direction. The checklist will serve as their guide through the journey of writing on their own. The student column is for them to list the date the step was completed. The teacher column is for when teachers’ cross-check student work. If grades are given, teachers often equate each step to a number of points that go toward a final grade for a piece. Please note: Checklists from grade level to grade level are aligned. Process is just as important as product in learning how to write! Therefore, we highly encourage teachers to monitor students’ growth in these areas. Product Journey Checklist (named Student Checklists in Writing Pathways by Lucy Calkins) – Once students go through the initial steps of the process (i.e. generating ideas for writing, rehearsing, planning, and drafting), they shift to using a product-driven checklist to guide their revising and editing work. It is highly recommended that teachers have students use the Student Writing Checklists included in Writing Pathways by Lucy Calkins to guide their revision and editing work. There is one checklist per text type. Use the same checklist for each unit teaching that text type. (Calkins, Lucy. (2015.) Writing pathways: Performance assessments and learning progressions, grade K-8. Portsmouth, NH: Heinemann.) If a district has not adopted this assessment resource, they should develop a product-driven student checklist to correspond to each text type. After students discover many of these items during immersion, teachers often distribute the checklist as a summary of what was discovered and to guide future work. In addition to being used after immersion as a review of what that text type should include, the student checklists may also be used throughout the unit and prior to celebration to guide students’ thinking and self-monitoring. Also, the product checklists are excellent for assisting students in setting writing goals or noting areas they want to give special attention. Time should be devoted to teaching students how to effectively use these checklists. Follow the To, With and By model as needed: Model for students and with students how to use the checklists on sample text before expecting them to do it by themselves. Please note: These checklists are end-of-the-year expectations. Monitor student growth and provide additional instruction for the whole class, small groups, or individuals on areas needing improvement. PROCESS JOURNEY CHECKLIST – 4th Grade Unit 1 Launching with Realistic Fiction StoriesName: ______________________________ Insert date in student box when completedGenerating Ideas, Planning and DraftingStudentTeacherGather Entries –List ideas that show a BIG EMOTIONSelect and Develop Story IdeasRead Mentor TextRead published writing that resembles what I want to writeDevelop a CharacterShow their motivation and struggles through eventsPlot Storyline Using Story MountainTell story bit by bit. Top of mountain is the character’s biggest challenge where the character learns/changes heart and/or mindPlan and Write Plotted Scenes from Story MountainTry more than one planDraftWrite scenes from story mountain to loose leaf paper to draft storyUse Transition Words and Prepositional PhrasesTell your story in order using words or phrases like in a while, later that day. Use prepositions to tell where and when things happened. Create Revealing DialogueDialogue that shows traits of characters and/or moves story forward Reveal the Heart of the StoryWrite to show the important messageWrite Leads to Capture the Readers Attention Pay attention to what the author did to introduce characters/setting and hook readers. Experiment with different types of leads.Write Endings that are Related to the Story’s messageExperiment with different types of endings. Connect the ending to the heart or important part of the story.RevisingRefer to Writing Pathways by Lucy Calkins, “Narrative Student Checklists”, Structure and Development, Grade 4EditingRefer to Writing Pathways, by Lucy Calkins, “Narrative Student Checklists” Language Conventions section, Grade 4PublishingShare story with intended audience*It is highly recommended that teachers have students use the Student Writing Checklists included in Writing Pathways by Lucy Calkins to guide their revision and editing work. If a district has not adopted this assessment resource, they should develop a product-driven student checklist to correspond to each text type. Calkins, Lucy. (2015.) Writing pathways: Performance assessments and learning progressions, grade K-8. Portsmouth, NH: Heinemann.Story Arc using Dancing in the Wings by Debbie Allen29985195586219Problem:Sassy struggles to believe in herself as a dancer and/but wants to dance in the Washington DC summer festival. 00Problem:Sassy struggles to believe in herself as a dancer and/but wants to dance in the Washington DC summer festival. 8604252035175Sassy performs in the Washington DC Dance Festival.Sassy performs in the Washington DC Dance Festival.45720001192350Mr. Debato dismisses all the girls but Sassy. Sassy is chosen to go to Washington DC dance Festival.00Mr. Debato dismisses all the girls but Sassy. Sassy is chosen to go to Washington DC dance Festival.22681871999870Sassy goes to try out/tried her best – lifting leg longer and higher, leaping higher – classmates make fun of her00Sassy goes to try out/tried her best – lifting leg longer and higher, leaping higher – classmates make fun of her8902293015178Sassy “dances in the wings” or is left out of the recital because she is too tall and too big.00Sassy “dances in the wings” or is left out of the recital because she is too tall and too big.3562354249997Sassy thinks her big feet and long legs are a problem with dance.00Sassy thinks her big feet and long legs are a problem with dance.123825633095People can overcome obstacles-believe in selfPeople can overcome obstacles-believe in self55918102952750Sassy must practice with dancers from around the world.00Sassy must practice with dancers from around the world.Detail Hand868045177165DialogueSettingInternal ThinkingCharacter ActionPhysical Descriptionperson/ place/ thing00DialogueSettingInternal ThinkingCharacter ActionPhysical Descriptionperson/ place/ thingCollecting Story IdeasSample Anchor Chart from Immersion - Collecting Story Ideas Book/SelectionStruggle or Problem or ConflictMy writing ideas…Grandpa’s FaceStrong emotion: Afraid Afraid of the darkAfraid to walk to friends aloneThe Marble ChampStrong emotion: Determination Determined to be the best hockey goalieDetermined for 1st place - gymnasticsDancing in the WingsStrong Emotion:Embarrassment – too tall and Struggle - learning to do something wellEmbarrassed too small at basketballStruggling make the soccer teamThe Memory StringStruggle - loss (mom and button from mom) – starting over with stepmomLoss of grandma or special item from grandmaNew family memberToo Many TamalesStrong emotionAshamed – Didn’t tell mom about trying on her ring – lost itTook brothers medal without askingNote: The class chart may only be columns two and three. This sample includes column one, book/title, to show teachers how to go from a sample text to a generalized area.Developing a CharacterMy CharacterOutside Features (External)Inside Features (Internal) Wants and Needs: Anchor Chart: How to Write a Fiction StoryAnchor ChartHow to Write a Fiction StoryGather entries – STRONG EMOTIONSSelect and develop story ideaRead mentor textDevelop a characterShow their motivations and struggles through each scene/eventPlot storyline using story mountainDraftUse transition words and prepositional phrasesCreate revealing dialogueReveal the heart of the storyWrite leads to capture the reader’s attention Write endings that are related to the stories messageReviseEditPublishSummary and Storyteller from the Three Little PigsSummary: It’s a story about three pigs, who leave their mom’s house to start a new life in houses of their own. There is a wolf who wants to eat them. Each pig builds a house and each time, the wolf comes by and blows down the house and tries to eat the pig. The wolf is persistent. He blows down two houses, one made of straw and one made of sticks. He tries to blow down the third house but it is made of bricks. He cannot blow it down. The pigs trick the wolf to come down the chimney, of the third house, where they have a boiling pot of water waiting in the fireplace. When the wolf comes down the chimney of the brick house he lands in the pot and the pigs cover the pot with the lid before he can get out. The end.Storyteller: “Mom, it is time for us to leave your house and go out into the world and make our own houses,” said the first pig as he stepped out of his room having packed all of his belongings into his cloth bag.“We are getting too old to live here with you, mom,” said the second pig “and we need to start lives of our own.” Mother pig listened, nodded and hung her head sadly toward the floor. The third pig was already waiting on the front porch when his mom opened the door to say good-bye to her three little piggies.“I will miss you SO MUCH,” cried mother pig, “Please call me when you are settled in your new homes and I will come see each one of you!”The three pigs kissed and hugged their mother goodbye and trotted off down their paved walk to the gravel road leading toward town.Anchor Chart- When to Start a New Paragraph104584532385When to Start a New Paragraph*A new scene or event*A new time – time has moved*Each time a different character is speaking00When to Start a New Paragraph*A new scene or event*A new time – time has moved*Each time a different character is speakingAnchor Chart- LEADSThe purpose of a lead is to… Hook the readerIntroduce the storylineThese are different ways to hook the reader… DialogueActionsImportant details about the main characterDetailed description of the setting Add other types based on mentor text studyAnchor Chart: Text Parts and ElementsNarrativeIntroduction/leadhook readerintroduce storyline?BodyEvents ?Ending/Conclusionconclude story?Anchor chart: Summarizing and Storytelling VoiceSummarizing and Storytelling VoiceSummarizing VoicePast tenseAlready happenedAll AboutTelling not showingDoesn’t paint a picture in your mindGesture – move hand in sweeping motionStoryteller’s VoicePresent tenseHappening nowRe-enactment of what happenedShowing not tellingWriting or telling bit-by-bitWrite like a movie is playingPaints a picture in your mindGesture – move hand horizontally in chopping motionBlank Vs. Revealing DialogueBlank – Leaves the reader’s mind blank as to what is happening.“Hello,” I said.“Hey,” he said.“What’s up?” I questioned.“Nothing, really,” He answered.Revealing – Lets the reader see how a character is feeling and thinking - also moves the story along.We passed each other as usual with a “Hello” and “What’s up?” but the words I really wanted to say just wouldn’t sit down any longer. “John, I know I can be the best principal helper if I win that contest!” I mumbled. “What?” my brother questioned. “You can’t even step out of bed in the morning without tripping over your own two feet! Good luck with that!”Anchor Chart: Revising EndingsThe reader should see evidence of a change in your character even if the change is small.The ending makes sense or naturally fits with the problem.The reader will feel that the characters are satisfied – there is a sense of closure.The story’s importance is tied to or connected to the ending.NEEDS PARAGRAPHSDad brought him home from a fishing trip in the mountains, full of burs and so thin you could count every rib. “Good Gracious,” Mom said. “He’s filthy!” “No, he isn’t! He’s Rusty, said John, my eight year old brother. “Can we keep him? Please…please…please.” “He’s going to be a big dog,” Dad warned, lifting a mud encrusted paw. “Probably why he was abandoned.” “What kind of dog is he?” I asked. It was impossible to get close to the smelly creature. “Mostly German shepherd,” Dad said. He’s in bad shape, John. He may not make it.” John was gently picking out burs. “I’ll take care of Rusty. Honest, I will.” Mom gave in, as she usually did with John. My little brother had a mild form of autism. Four years earlier, he could barely speak to anyone. We’d all been so focused on helping him since then. “All right, John,” Dad said. “We’ll keep Rusty. But he’s your responsibility.” “Deal!” And that’s how Rusty came to live with us. He was John’s dog from the very first moment, though he tolerated the rest of us.Excerpt Adapted from “The Game of Love” by Lou Kassem, Chicken Soup for the Soul 1998.List of Roles for Students During Writing Celebration (Teacher assigns students to roles) List Student NamesGreeters _______________________ _____________________________ ________________________Ushers ___________________ ___________________ ___________________ _______________________Opening/Welcome ________________________ ______________________________ ________________________Hosts @ Small Groups _____________ ____________ _____________ _________________ _____________ ____________ _______________ ___________________ __________________ _______________ _________________Closers/Thank you ___________________________ _____________________________ __________________________Refreshment Ushers _________________ ________________________ __________________ _________________________ Sample Folder PaperPrepositional Words to Make Prepositional PhrasesPrepositional WordsExamples of Prepositional Phrases from Mentorsaboutaboveacrossafteragainstalongamidamongaroundatatopbeforebehindbelowbeneathbesidebetweenbeyondbut (meaning except)byconcerningdownduringexceptforfromininsideintolikenearofoffonontooutoutsideoverpastregardingsincethroughthroughouttotowardunderunderneathuntilupuponwithwithinwithoutAllow us to include more information about where and when things are happening in a sentence.Name in GoldAnne sat at the breakfast table, eating her cornflakes and reading the print on the cereal box for details.Anne’s older sister, Mary, sat across from her reading the other side of the cereal box.Birthday BoxWe were good friends with them all by that time, because mama had been in the hospital for so long.At last V. Lousie said, “it’s from your mama, Katie”The Marble ChampIt wasn’t until last year, when she was eleven years old, that she learned how to ride a bike. “I’ll never be good at sports”, she fumed one rainy day as she lay on her bed gazing at the shelf her father had made to hold her awards.Dancing in the WingsEver since I was born and could see, everywhere I looked, I saw danceIn the clouds as the wind blew them across the sky, in the ripples on a pond, even in the sea of ants marching up and down their hills.1631951422400048895368427000488955284470004889568846700048895848487000488952998470004889523126700048895151257000488957067550059924958484870page 00page 488957684770004889560845700048895448437000 Unit 1–Paper Choices/Differentiate33642308890Author_____________________________00Author_____________________________-1597660485140000-1483360142240000-11404605080000-1254760622300000-1597660416560000-1826260279400000-1369060759460000-1483360828040000-1826260347980000-1483360690880000-1483360553720000-136906073660000-1254760210820000Rules for Punctuating and Formatting DialogueThere are quotation marks around the parts that are spoken.Ex: The teacher said, “In this class there will be no talking.”The first letter of each spoken part is capitalized.Ex: I love my new puppy I got for my birthday. There are dialogue tags (S/He said) that explain who is talking each time the speaker changes.Ex: “Where did you find my backpack?” he asked.A new paragraph is started after the speaker changes - every time the speaker changes.Ex: “How come?” he asked. “My mom said I need to go to the doctor after school.”The dialogue tags can go before, after, or in the middle of dialogue.Ex: “ Did you take the dog for a walk?” he asked “I am coming,” he yelled, “just a minute!” The first letter of the dialogue tag is not capitalized unless it is a name or the beginning of a sentence.Ex: “Your dress is beautiful!” Joe exclaimed.A quote or spoken part is always separated from the “he said” part with a comma, a question mark or exclamation point – at the end of the spoken parts. The punctuation goes inside the quotation mark. A period is not used with the “he said” parts, for it would create two sentences.Ex: “Can I come over after school?” he asked.There’s always a period or comma at the end of the dialogue tag.Ex: “Where did you find my backpack?” he asked.Source:Atwell, N. ( 2002). Lessons that change writers. Portsmouth, NH: HeinemannLattimer, H. (2003). Thinking through genre: Units of study in reading and writing workshop 4-12. Portland, MA: Stenhouse.Transitional Words and PhrasesCommon Connectives to connect/link multiple sentencesADDITIONSEQUENCECONSEQUENCECONTRASTin addition toand similarlylikewiseas well as besidesanotherfurthermorealsomoreoverand thentoonot only….alsoevenbesides this/thatin the same wayfirst (ly) initiallyin the first stage / phaseone reason / advantage to begin withsecond(ly) etc.in the second stage / phaseanother reason / advantagethenearlier / laterafter this / that at this pointfollowing this / thatfollowing this / that a further reason / advantagein the final stage / phasethe final reason / advantageas a resultthussothereforeconsequentlyit follows thattherebyeventuallythenin that caseadmittedlyHoweveron the other handdespitein spite ofthoughalthoughbuton the contraryotherwiseyetinstead ofratherwhereasnonethelesseven thoughcompared with in contrastalternatively CERTAINTYCONDITIONDEFINITIONSUMMARYobviouslycertainlyplainlyof courseundoubtedlyifunlesswhetherprovided thatfor, so that,whetherdepending onis refers tomeansthat is consists of such aslikein conclusionin summarylastly, finallyto sum upto concludeto recapitulateto shortEXAMPLEREASON/CAUSE & EFFECTTIMETIME: Continuedfor instanceone examplejust asin particularsuch asnamelyto illustrateSince, as, so,because (of)due toowing to the reason whyin other wordsleads tocause of/ causedbeforeformsince, asuntilmeanwhileat the moment when wheneveras soon asjust presentlyat the presentcurrentlyClass Profile of Teaching and Learning Points – 4th Grade Unit 1: Launching with Writing Realistic FictionOptional Assessment/ConferringStudent NamesWriters generate story ideas from strong emotions and stories they wish for.Writers plan and rehearse their stories; developing character and telling their story orally bit-by bitWriters develop characters with external and internal traits, wants and needs.Writers write leads which introduce the character, tell time and place and hook the reader.Writers create plotlines where the problem becomes worse and worse.Writers use small moments to write scenes throughout their story. Writers use propositional phrases to tell where and when scenes happen.Writers study mentors leads, endings and techniques and show evidence of mentors in story.Writers paragraph.Writers reread and revisit their pieces by using a revision checklist.Writers work independently as they move through the writing process using journey chart as guide.Writers elaborate using details to show the heart or message of the story.Writers use precise nouns and verbsWriters work effectively with their partners.Writers include actions, feelings, thoughts, and dialogue.Writers use punctuation correctly and to direct the reader.Writers write strong endings connected to the importance or heart of the story.Class Profile of Teaching and Learning Points – 4th Grade Unit 1: Launching with Writing Realistic FictionOptional Assessment/ConferringStudent NamesWriters take charge of their writing by thinking back over everything they know how to do as writers.Writers give their partners specific suggestions in a gentle way.Writers focus on finishing touches by rereading with different lenses for editing .Writers focus on finishing touches using an editing checklist.Writers share their pieces with an audience – celebrate.Writers survey their work throughout and make future goals for themselves.Reflection for Writing Realistic Fiction Stories Unit 1Name _________________________________________Date __________________________We have now been in school for about a month. We have learned so much about ourselves as writers, about one another, and about writing workshop.What is your favorite thing about writing workshop?What do you do well in writing?What is hard for you about writing? How are you going to be a problem solver instead of a problem keeper of this challenge?Based on Stephanie Parsons, (2007). Second Grade Writers. Portsmouth, NH: Heinemann. ................
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