4hawks.weebly.com€¦ · Web viewResource Materials Packet 4th Grade Launching with Realistic Fiction Stories Unit 1 0 7/2 7 /16 Writing Unit of Study 4 th Grad e – Launching with

4th GradeLaunching with Realistic Fiction Stories

Unit 107/27/16

Copyright © 2010-2017 by the Michigan Association of Intermediate School Administrators and Oakland Schools.

ELAMichigan State StandardsResource Materials Packet

Writing Unit of Study4th Grade – Launching with Realistic Fiction Stories, Unit 1Table of Contents

General ResourcesMentor Text and Criteria............................................................................................................................................................1

Writing Process Steps – Generic Poster......................................................................................................................................3

...................................................................................................................................................................................................

On-demand Assessment and General Assessment Background Information (same sheet in Lesson Plan packet).....................4

Some Possibilities for Purposeful Use of Share Time..................................................................................................................5

Rehearsing and Planning Bookmark...........................................................................................................................................6

Working With Your Partner........................................................................................................................................................7

Resources Specific to Unit of StudyBackground Information on Journey Checklists: Process and Product .....................................................................................8

Process Journey Checklist - Specific to the Unit .........................................................................................................................9

Story Arc using Dancing in the Wings by Debbie Allen ..............................................................................................................10

Detail Hand.................................................................................................................................................................................11

...................................................................................................................................................................................................

Collecting Story Ideas.................................................................................................................................................................12

Developing a Character..............................................................................................................................................................13

Anchor Chart: How to Write a Fiction Story...............................................................................................................................14

Summary and Storyteller from The Three Little Pigs..................................................................................................................15

Anchor Chart: When to Start a New Paragraph…………………………………………………………………………………………………………………..……16

Anchor Chart: Leads…………………………………………………………………………………………………………………………………………………………………17

Anchor Chart: Text Parts and Elements…………………………………………………………………………………………………………………………………...18

Anchor Chart: Summarizing and Storytelling Voice……………………………………………………………………………………………………………..…..19

Blank Vs. Revealing Dialogue...................................................................................................................................................... .20

Anchor Chart: Revising Endings.................................................................................................................................................. .21

Needs Paragraphs....................................................................................................................................................................... .22

List of Roles for Students During Writing Celebration.................................................................................................................23

Prepositional Words to Make Prepositional Phrases...................................................................................................................24

Small Box Paper, page 1............................................................................................................................................................. .25

Small Box Paper, page 2............................................................................................................................................................. .26

Rules for Punctuating and Formatting Dialogue..........................................................................................................................27

Transitional Words and Phrases................................................................................................................................................. .28

Class Profile of Teaching and Learning Points………………………………………………………………………………………………………………………...…29

Reflection for Writing Realistic Fiction Stories Unit 1 ……………………………………………………………………………………………………..………..31


Please 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 1 This 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 SuggestionsTitle Author Notes to Teacher

Birthday Box*Found in Birthday Surprises: Ten Great Stories to Unwrap by Johanna Hurwitz

Jane Yolen Big Emotion, Heart of Message - many teaching possibilities

Chicken Soup for the Kids Soul series

Stories by many notable authors

Big Emotion, Short stories/student interest/ many teaching possibilities

Dancing in the Wings* Debbie Allen Big Emotion, Heart of Message, Lead, ending, dialogue, problem worsens, clear scenes

Every Living Thing* Cynthia Rylant Big Emotion, short stories - Excellent- many teaching possibilities

Grandpa’s Face* Eloise Greenfield Big Emotion, Heart of Message, dialogue, craft techniquesThe Marble Champ*Found in Baseball in April

Gary Soto Use for character development, Heart of Message, Beginning, Ending, paragraphs

The Memory String* Eve Bunting Ideas, Dialogue, Heart of Message, character change, clear scenes

Stevie* John Steptoe Dialogue, Actions, clear scenes, heart of messageToo Many Tamales* Gary Soto Dialogue, Beginnings, Details, Ideas, scenes, endingYour Name in Gold* Chicken Soup for the Kids

Soul, 1998. By A.F. Bauman

Use for heart of message, Paragraphing, Dialogue, scenes- excellent-many teaching opportunities

The Tiger Rising Kate Dicamillo Could use short excerpts that fit mentor criteriaStone Fox John Reynolds Gardiner Could use short excerpts that fit mentor criteria

* = Used in sessions throughout unit of study

Student Authored Work Code: SW Author Topic/Title Notes to Teacher

Numerous Writing Pathways, Lucy Calkins

Excellent resource – many possibilities

1Copyright © 2010-2017 by the Michigan Association of Intermediate School Administrators and Oakland Schools.

Mentor Texts, Continued

Teacher Authored Work Code: TW Author Topic/Title Notes to Teacher

Common Core Code: CCAuthor Topic/Title Notes to Teacher

Teachers College (www.readingandwritingproject.com) Code: TCAuthor Topic/Title Notes to Teacher

Websites Code: WWWwww.readingandwritingproject.com (Teacher’s College)

2Copyright © 2010-2017 by the Michigan Association of Intermediate School Administrators and Oakland Schools

3

Copyright © 2010-2017 by the Michigan Association of Intermediate School Administrators and Oakland Schools


On-Demand Assessment and General Assessment Background Information

On-Demand Writing Performance Assessment Explanation

Each 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 3 rd 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.

A. Learning Progressions for each text typeB. On-Demand Performance Assessment Prompts for each text typeC. Teaching RubricsD. Student ChecklistsE. Leveled Student Writing SamplesF. Annotated Demonstration TextsG. Writing Process Learning Progressions

The 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.

Name Purpose MethodFollow-Up on Mini-Lesson

To reinforce and/or clarify the teaching point

Share an exemplar model (student or teacher) Share a student who had difficulty and the way

in which he/she solved the problem Share the story of a conference from the

independent work time Provide another opportunity for active

engagement Provide a prompt to initiate student

conversation, “Turn and tell your partner…”

Problem Solving To build community and solve a problem

Review To recall previous strategies /prior learning

To build repertoire of strategies

To contextualize learning

Pose 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 Tomorrow

Introduce a new teaching point – set-up for the next mini-lesson

Celebratory Celebration of learning Boost student morale Promote membership

in the “literacy club”

Share the work of 2-3 students Provide 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 Project



Working With Your Partner

o Listening Purpose - Tell partner what s/he should listen for in your piece. How can your partner help you?

1. Read/Listen

2. Talk/Discuss

3. Flag spot/s needing changes

4. Switch Roles

5. Revise or Edit – Make Changes


BACKGROUND ON JOURNEY CHECKLISTS – PROCESS AND PRODUCT

One 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 Stories

Name: ______________________________ Insert date in student box when completedGenerating Ideas, Planning and Drafting Student Teacher

Gather 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 message

Write 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 4

EditingRefer to Writing Pathways, by Lucy Calkins, “Narrative Student Checklists” Language Conventions section, Grade 4

PublishingShare 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 Allen


Problem:Sassy struggles to believe in herself as a dancer and/but wants to dance in the Washington DC summer festival.

Sassy performs in the Washington DC Dance Festival.

Sassy thinks her big feet and long legs are a problem with dance.

Sassy “dances in the wings” or is left out of the recital because she is too tall and too big.

Sassy goes to try out/tried her best – lifting leg longer and higher, leaping higher – classmates make fun of her

Sassy must practice with dancers from around the world.

People can overcome obstacles-believe in self

Mr. Debato dismisses all the girls but Sassy. Sassy is chosen to go to Washington DC dance Festival.

Detail Hand


person/ place/ Physical

Character

Internal SettinDialogu

Collecting Story IdeasSample Anchor Chart from Immersion - Collecting Story Ideas

Book/Selection Struggle or Problem or Conflict My writing ideas…Grandpa’s Face Strong emotion:

Afraid - Afraid of the dark- Afraid to walk to friends

alone-

The Marble Champ Strong emotion: Determination

- Determined to be the best hockey goalie

- Determined for 1st place - gymnastics

Dancing in the Wings Strong Emotion:Embarrassment – too tall and Struggle - learning to do something well

- Embarrassed too small at basketball

- Struggling make the soccer team

The Memory String Struggle - loss (mom and button from mom) – starting over with stepmom

- Loss of grandma or special item from grandma

- New family memberToo Many Tamales Strong emotion

Ashamed – Didn’t tell mom about trying on her ring – lost it

- Took brothers medal without asking

Note: 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 Character

My CharacterOutside Features (External) Inside Features (Internal)

Wants and Needs:


Anchor Chart: How to Write a Fiction Story


Anchor ChartHow to Write a Fiction Story

Gather entries – STRONG EMOTIONS Select and develop story idea Read mentor text Develop a character

o Show their motivations and struggles through each scene/event

Plot storyline using story mountain Draft Use transition words and prepositional phrases Create revealing dialogue Reveal the heart of the story Write leads to capture the reader’s attention Write endings that are related to the stories

message Revise Edit Publish

Summary and Storyteller from the Three Little Pigs

Summary:

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 Paragraph


When to Start a New Paragraph

*A new scene or event

*A new time – time has moved

*Each time a different character is speaking

Anchor Chart- LEADS

The purpose of a lead is to… Hook the reader Introduce the storyline

These are different ways to hook the reader… Dialogue Actions Important details about the main character Detailed description of the setting Add other types based on mentor text study


Anchor Chart: Text Parts and Elements

NarrativeIntroduction/lead

hook readerintroduce storyline

Body

Events

Ending/Conclusionconclude story


Anchor chart: Summarizing and Storytelling Voice


Summarizing and Storytelling Voice

Summarizing Voice Past tense Already happened All About Telling not showing Doesn’t paint a

picture in your mind Gesture – move hand

in sweeping motion

Storyteller’s Voice Present tense Happening now Re-enactment of what

happened Showing not telling Writing or telling bit-

by-bit Write like a movie is

playing Paints a picture in your

mind Gesture – move hand

horizontally in chopping motion

Blank Vs. Revealing Dialogue

Blank – 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 Endings

The 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 PARAGRAPHS

Dad 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 Names

Greeters _______________________ _____________________________ ________________________

Ushers ___________________ ___________________ ___________________ _______________________

Opening/Welcome ________________________ ______________________________ ________________________

Hosts @ Small Groups _____________ ____________ _____________ _________________ _____________

____________ _______________ ___________________ __________________ _______________ _________________

Closers/Thank you ___________________________ _____________________________ __________________________

Refreshment Ushers _________________ ________________________ __________________ _________________________


Sample Folder Paper

Prepositional Words to Make Prepositional Phrases

Prepositional Words Examples of Prepositional Phrases from Mentorsaboutaboveacrossafteragainstalongamidamongaroundatatopbeforebehindbelowbeneathbesidebetweenbeyondbut (meaning except)byconcerningdownduringexceptforfromininsideintolikenearofoffonontooutoutsideoverpastregardingsincethroughthroughouttotowardunderunderneathuntilupuponwithwithinwithout

Allow us to include more information about where and when things are happening in a sentence.

Name in Gold

Anne 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 Box

We 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 Champ

It 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 Wings

Ever since I was born and could see, everywhere I looked, I saw dance

In 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.


Unit 1–Paper Choices/Differentiate


page

Author_____________________________

Rules for Punctuating and Formatting Dialogue

There are quotation marks around the parts that are spoken.o Ex: The teacher said, “In this class there will be no talking.”

The first letter of each spoken part is capitalized.o 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.

o Ex: “Where did you find my backpack?” he asked.

A new paragraph is started after the speaker changes - every time the speaker changes.

o 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.o 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.

o 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.

o Ex: “Can I come over after school?” he asked.

There’s always a period or comma at the end of the dialogue tag.

o 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 sentences

ADDITION SEQUENCE CONSEQUENCE CONTRAST

in addition toand similarlylikewiseas well as besidesanotherfurthermorealsomoreoverand thentoonot only….alsoevenbesides this/thatin the same way

first (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 / advantage

as a resultthussothereforeconsequentlyit follows thattherebyeventuallythenin that caseadmittedly

Howeveron the other handdespitein spite ofthoughalthoughbuton the contraryotherwiseyetinstead ofratherwhereasnonethelesseven thoughcompared with in contrastalternatively

CERTAINTY CONDITION DEFINITION SUMMARY

obviouslycertainlyplainlyof courseundoubtedly

ifunlesswhetherprovided thatfor, so that,whetherdepending on

is refers tomeansthat is consists of such aslike

in conclusionin summarylastly, finallyto sum upto concludeto recapitulateto short

EXAMPLE REASON/CAUSE & EFFECT TIME TIME: Continued

for instanceone examplejust asin particularsuch asnamelyto illustrate

Since, as, so,because (of)due toowing to the reason whyin other wordsleads tocause of/ caused

beforeformsince, asuntilmeanwhileat the moment when whenever

as soon asjust presentlyat the presentcurrently

Class Profile of Teaching and Learning Points – 4th Grade Unit 1: Launching with Writing Realistic Fiction Optional Assessment/Conferring


Student NamesW

riter

s gen

erat

e st

ory

idea

s fro

m

stro

ng e

moti

ons a

nd st

orie

s the

y w

ish fo

r.

Writ

ers p

lan

and

rehe

arse

thei

r st

orie

s; d

evel

opin

g ch

arac

ter a

nd

telli

ng th

eir s

tory

ora

lly b

it-by

bit

Writ

ers d

evel

op c

hara

cter

s with

ex

tern

al a

nd in

tern

al tr

aits

, wan

ts

and

need

s.

Writ

ers w

rite

lead

s whi

ch in

trod

uce

the

char

acte

r, te

ll tim

e an

d pl

ace

and

hook

the

read

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Writ

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reat

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es w

here

the

prob

lem

bec

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wor

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wor

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Writ

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all m

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thro

ugho

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heir

stor

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Writ

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se p

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to te

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here

and

whe

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enes

ha

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Writ

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stud

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en

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s and

tech

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evid

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of m

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stor

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Writ

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arag

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Writ

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erea

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visit

thei

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by

usin

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revi

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chec

klist

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Writ

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inde

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as t

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pro

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labo

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Writ

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and

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effec

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part

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Writ

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Class Profile of Teaching and Learning Points – 4th Grade Unit 1: Launching with Writing Realistic Fiction Optional Assessment/Conferring


Student NamesW

riter

s tak

e ch

arge

of t

heir

writi

ng

by th

inki

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ack

over

eve

ryth

ing

they

kno

w h

ow to

do

as w

riter

s.

Writ

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ive

thei

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s spe

cific

su

gges

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in a

gen

tle w

ay.

Writ

ers f

ocus

on

finish

ing

touc

hes

by re

read

ing

with

diff

eren

t len

ses

for e

ditin

g .

Writ

ers f

ocus

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hare

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for t

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selv

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Reflection for Writing Realistic Fiction Stories Unit 1

Name _________________________________________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.


Documents

4hawks.weebly.com€¦ · Web viewResource Materials Packet 4th Grade Launching with Realistic Fiction Stories Unit 1 0 7/2 7 /16 Writing Unit of Study 4 th Grad e – Launching with