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

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1 LE 1.1 (Monday) Wednesday, August 13, :12 PM Homework: None! 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 1.1 Pencil/pen Planner Agenda: Do Now Classkeeping Reading w/ Stop and Jots & Gists Mastery Check: Hypothesizing Do Now: Answer the questions below in complete sentences! 1. What does your name mean? Where does it come from? 2. What do you wish teacher's knew about you? 3. What are your plans for after high school? 4. What are your top 3 favorite books and/or authors? 5. In 20 years, what do you want to be remembered for by your current classmates and teachers? 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 LE1 Poe's Short Stories Page 1

2 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. 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. 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. LE1 Poe's Short Stories Page 2

3 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. Stop and Jot 2: Make an inference. What do you think Mr. Maloney said to his wife? Why? Underline your evidence. 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? Stop and Jot 3: What is Mary Maloney's tone (attitude) while thinking about her actions? How do you know? Underline your evidence. 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 LE1 Poe's Short Stories Page 3

4 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. Stop and Jot 4: Make a prediction. What do you think is going to happen next? Why? Underline your textual evidence. 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 LE1 Poe's Short Stories Page 4

5 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 LE1 Poe's Short Stories Page 5

6 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." LE1 Poe's Short Stories Page 6

7 123 "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. Stop and Jot 5: Some might find the ending of this short story funny. Explain why it may be funny. 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. CFS: 1. 3 pieces of paraphrased evidence 2. Legible handwriting LE1 Poe's Short Stories Page 7

8 LE (Tues & HW) Homework: Writer History Paragraph Saturday, August 23, :34 PM 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 1.1 LE 1.1 Extension Pencil/pen Planner Agenda: Do Now Classkeeping Reading w/ Stop and Jots & Gists Mastery Check: Hypothesizing 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. 1. Why is writing challenging? 2. Who can learn how to write? 3. What are the 4 stages that all writers go through? 4. What are 2 things that writing can help YOU do better this year? LE1 Poe's Short Stories Page 8

9 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). LE1 Poe's Short Stories Page 9

10 LE 1.2 (Wednesday) Wednesday, August 13, :27 PM Homework: None! Name: 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 1.1 LE 1.2 Pen/pencil Planner Agenda: Do Now Mini-Lesson: Literary techniques I Do: Modeling with "The Sniper" We Do: Evidence in groups Group Share-Outs Closing 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 Dark Comedy Examples DEFINITION IN MY OWN WORDS... 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 Diction Pirates of the Caribbean: "I am disinclined to acquiesce to your request it means, no." do not. The intentional choice and use of LE1 Poe's Short Stories Page 10

11 request it means, no." and phrases in speech or. Foreshado wing Conflict An advance or of what is to come in the future., 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? LE1 Poe's Short Stories Page 11

12 LE 1.3 (Thursday) Wednesday, August 13, :27 PM Name: Objective: SWBAT select 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? Agenda: Do Now Share-Outs I Do: Selecting Evidence We Do: Evaluating Evidence Selection You Do: Organizing Evidence Mastery Check Homework: HW LE 1.3 = That, "I-can't-stop-reading, I'm-on-the-edge-of-my-seat, I-MUST-find-out-what'sgoing-to-happen-next," feeling... 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. Just the right. Drawn from multiple. 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 "His eyes had the cold gleam of the fanatic the eyes of a man who is used to looking at death" (paragraph 2). LE1 Poe's Short Stories Page 12

13 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 LE1 Poe's Short Stories Page 13

14 Mastery Check: Read the questions below about selecting evidence. Refer to the PBA rubric strands from the I Do section. Circle the correct answer As an 8th grade writer, what should the relationship be between your evidence and your assertion? a. Almost all evidence selected strongly supports assertion. b. Almost all evidence selected is directly relevant to the assertion. c. Most evidence selected is connected to the topic of the paragraph. d. Almost all evidence is connected to the assertion. e. All of the above. As an 8th grade writer, how much evidence should you be selecting? a. Complete paragraphs. b. One word. c. Enough to prove your point. d. Doesn't matter. e. None of the above. As an 8th grade writer, where should your evidence be drawn from? a. Evidence is drawn from the beginning and the end of the text. b. Evidence is drawn from multiple parts of the text. c. Evidence is drawn from thin air. d. Evidence, if applicable, is drawn from multiple sources. e. Both b and d. LE1 Poe's Short Stories Page 14

15 HW LE 1.3 Monday, August 18, :12 PM Name: Motto: Date: Student #: 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. Literary Technique Mrs. Gibson's Examples Dark Comedy Monty Python and the Holy Grail: "It's a mere flesh wound!" YOUR Example 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. Diction Pirates of the Caribbean: "I am disinclined to acquiesce to your request it means, no." Foreshadowi ng Conflict LE1 Poe's Short Stories Page 15

16 LE 1.4 (Friday) Saturday, August 23, :48 AM Name: 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? Agenda: Do Now Classkeeping: Friday Letters! I Do: Assertions with the PBA We Do: Evaluating assertions You Do: Draft assertions Mastery Check Homework: None! 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) Is just the right amount (not too much, not too little) Is from multiple parts of the text I Do: Writing Assertions! 1. Assertion supports the. 2. The order of assertions. 3. The assertions are. We Do: Literary Technique Diction (scary, dark, ominous words) Drafted Assertion 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. (scary, dark, ominous words) LE1 Poe's Short Stories Page 16

17 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. CFS: 1. Complete sentences 2. Each assertion includes a literary technique 3. Each assertion relates to how Roald Dahl creates suspense LE1 Poe's Short Stories Page 17

18 3. LE1 Poe's Short Stories Page 18

19 LE 1.5 (Tuesday) Wednesday, August 13, :27 PM Name: Objective: SWBAT construct clear, defensible, comprehensive, focused, and analytical thesis statements. Essay Prompt: How do author's use literary devices to create suspense? Agenda: Do Now I Do: Thesis Statements PBA We Do: Evaluating a thesis You Do: Writing thesis Peer Review Mastery Check Homework: Thesis practice worksheet. 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! "I don't focus on what I'm up against. I focus on my goals and I try to ignore the rest." Venus Williams "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." Lou Holtz "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." Denis Waitley I Do: Thesis! 1. Thesis statement addresses all parts of the. 2. Thesis statement may. 3. Thesis statement is. 4. Thesis statement is. 5. Thesis statement is written in the. LE1 Poe's Short Stories Page 19

20 We Do: Essay Prompt: How do author's use literary devices to create suspense? Assertions: 1. 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. 2. O'Flaherty creates conflict between the sniper and his faceless enemies in order to keep his readers tense with anxiety. 3. 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. 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! LE1 Poe's Short Stories Page 20

21 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: LE1 Poe's Short Stories Page 21

22 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 LE1 Poe's Short Stories Page 22

23 HW LE 1.5 (Tuesday) Saturday, August 23, :47 PM Motto: Thesis Practice Name: Student #: Date: 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. 1. Discuss the social, political and economic effects of World War II on the United States. a. World War II was a costly war that had a major impact on the economy of the United States. b. 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. RATIONALE: 2. Describe three physical features of Latin America and their importance to the region. a. 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. b. Three physical features found in Latin America are the Andes Mountains, the Amazon River and the Yucatan Peninsula. RATIONALE: 3. PROMPT: Agatha Christie includes many themes in her murder mysteries. Examine one theme from her novel, And Then There Were None. a. 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. b. 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. RATIONALE: 4. 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. a. Globalization in Indian has offered solutions to poverty for some and created more severe poverty for others. b. In India, globalization has meant new jobs for India's emerging middle class. LE1 Poe's Short Stories Page 23

24 RATIONALE: LE1 Poe's Short Stories Page 24

25 LE 1.6 (Wednesday) Saturday, August 23, :57 PM Name: Student #: Objective: SWBAT draft body paragraph 1 with a strong assertion, context, evidence, interpretation, and transitions. Essay Prompt: How do author's use literary devices to create suspense? Agenda: Do Now I Do: ACE IT (and recipes) We Do: Body Paragraph 1 You Do: Body Paragraph 1 Mastery Check Homework: None! Do Now: In your writer's notebook answer the following questions: What is your favorite home cooked meal? How do you make it? Be as specific as you can! Give me the exact ingredients and order of directions. 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? How is following a recipe for a home cooked meal like writing a really good paragraph? 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 LE1 Poe's Short Stories Page 25

26 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 have each component of ACE IT. If you notice that you are missing a color, go back and add it! Green: Assertion Yellow: Context Orange: Evidence Red: Interpretation Blue: Transition Evidence 1 LE1 Poe's Short Stories Page 26

27 Orange: Evidence Red: Interpretation Blue: Transition Yellow: Context Orange: Evidence Red: Interpretation Blue: Transition Evidence 2 LE1 Poe's Short Stories Page 27

28 LE 1.7 (Thursday) Wednesday, August 13, :27 PM Name: Objective: SWBAT draft body paragraph 2 with a strong assertion, context, evidence, interpretation, and transitions. Essay Prompt: How do author's use literary devices to create suspense? Agenda: Do Now I Do: Context We Do: Context You Do: Body Paragraph 2 Mastery Check Homework: Finish writing and colorcoding paragraphs 1 and 2 (if not in class)! 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: Begin drafting Body Paragraph 2. Use your assertions and your evidence from lesson LE 1.3. Make sure you have every piece of ACE IT! LE1 Poe's Short Stories Page 28

29 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: Context Orange: Evidence Red: Interpretation Blue: Transition Yellow: Context LE1 Poe's Short Stories Page 29

30 Orange: Evidence Red: Interpretation Blue: Transition LE1 Poe's Short Stories Page 30

31 LE 1.8 (Friday) Wednesday, August 13, :27 PM Name: Objective: SWBAT draft body paragraph 3 with a strong assertion, context, evidence, interpretation, and transitions. Essay Prompt: How do author's use literary devices to create suspense? Agenda: Do Now Classkeeping: Friday Letters! We Do: Transitions You Do: Body Paragraph 3 Mastery 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! LE1 Poe's Short Stories Page 31

32 You Do: Begin drafting Body Paragraph 3. Use your assertions and your evidence from lesson LE 1.3. Make sure you have every piece of ACE IT! 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 checklist in order Assertion Context Evidence Interpretation Transition Evidence 1 LE1 Poe's Short Stories Page 32

33 Evidence Interpretation Transition Context Evidence Interpretation Transition Evidence 1 Evidence 2 LE1 Poe's Short Stories Page 33

34 LE 1.9 (Monday) Saturday, August 30, :44 PM 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 Now I Do: Introduction Visual We Do: Model Intro Paragraph You Do: Drafting Introduction Mastery 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? LE1 Poe's Short Stories Page 34

35 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: The hook in an introductory paragraph is supposed to a. Go fish... b. Tell your reader what the essay is going to be all about c. Introduce your reader to the important background information d. Draw your reader into your essay and catch their interest The framing sentences in an introductory paragraph is supposed to a. Who knows... b. Tell your reader what the essay is going to be all about c. Introduce your reader to the important background information d. Draw your reader into your essay and catch their interest The thesis statement in an introductory paragraph is supposed to LE1 Poe's Short Stories Page 35

36 a. None of the below b. Tell your reader what the essay is going to be all about c. Introduce your reader to the important background information d. Draw your reader into your essay and catch their interest LE1 Poe's Short Stories Page 36

37 LE 1.10 (Tuesday) Saturday, August 30, :44 PM Name: Objective: SWBAT develop an appropriately structured conclusion paragraph that supports their thesis. Essay Prompt: How do author's use literary techniques to create suspense? Agenda: Do Now I Do: PBA Conclusions We Do: Model Conclusion Paragraph You Do: Drafting Conclusion Mastery Check: Conclusions Homework: Finish Intro and Conclusion (if not in class) 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 1. What is the point of the conclusion paragraph? 2. What does a conclusion paragraph need to include? LE1 Poe's Short Stories Page 37

38 I Do: Conclusions 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.!! Rephrase the main idea of the paper in different words Tell your reader why all of this matters. Feel free to link this to bigger topics or broader ideas! 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? LE1 Poe's Short Stories Page 38