MADISON PUBLIC SCHOOL DISTRICT
Third Grade Literacy Curriculum
Authored by: Corinne Babich, Tiffany Worden, Shelia Barboza, and Alison Watkins
Reviewed by: Mr. Lee S. Nittel
Director of Curriculum and Instruction
Ms. Janine Loconsolo
Supervisor of Elementary Education
Approval Date: Fall 2012
Members of the Board of Education:
Lisa Ellis, President
Patrick Rowe, Vice-President
Kevin Blair
Thomas Haralampoudis
Linda Gilbert
James Novotny
David Arthur
Shade Grahling
Superintendent: Dr. Michael Rossi
Madison Public Schools
359 Woodland Road, Madison, NJ 07940
www.madisonpublicschools.org
I. PURPOSE AND OVERVIEW
The Madison School District elementary literacy program provides a balanced instructional
approach which includes study of authentic and rich children’s literature, work in leveled texts for guided
reading, introduction to patterns and sounds through phonics and spelling instruction, and experience and
practice in effective writing traits within a workshop approach. We recognize that children enter literacy
stages at different developmental points in time and, so, our curriculum is designed to be responsive to these
developmental stages. Our differentiated workshop approach allows students to be engaged with reading
and writing experiences appropriate to their point in development, and our teachers assess students at
regular intervals to inform their instructional decisions.
II. COMPONENTS OF BALANCED LITERACY
The components of a successful balanced literacy program include the following:
 Reading Workshop
 Writing Workshop
 Shared Reading
 Read Aloud
 Word Study
Reading Workshop: (Approximately 60 minutes)
The reading workshop is comprised of four parts; the mini-lesson, independent reading time with
conferring, a mid-workshop teaching point, and finally a teaching share, partnership*, or book club*
discussions.
Mini-Lesson- The mini lesson takes place at the beginning of the reading workshop and should last
about 10 minutes (no longer than 15). Students should be gathered at a central location (like a carpet)
for the mini-lesson. During this time, the teachers clearly states the teaching point for that day. The
teacher then models the skill or strategy they are teaching. Finally, the students are given a chance to
practice the skill or strategy while still gathered together.
Independent Reading Time/Conferring- Students in 3rd grade should be able to sustain independent
reading for a period of 30 minutes. At this time, students are reading independently in their reading
spots throughout the classroom and practicing strategies they have learned in mini-lessons. During the
independent portion of the workshop, teachers are conferencing with students one on one, in
partnerships, or conducting small group strategy lessons. This is also the time to conduct guided
reading lessons if necessary.
Mid-Workshop Teaching Point- Many times as teachers are conferring with students, they notice that
there is either a common difficulty students are having, or that most students seem to grasp the concept
and are ready to move on. Thus, the mid-workshop teaching point can be used either to clarify
confusion, or to expand upon a strategy to push students to go further in their reading. The midworkshop teaching point is most often decided during the workshop and comes as a result of teacher
observation. This should take no more than 5 minutes.
Share/Partnerships/Book Clubs- At the end of a workshop, the teacher takes a couple minutes to wrap
up the days work with a teaching share. Many times the point a teacher makes in the share comes
from specific student work from that days’ workshop. The share should last no more than 5 minutes.
This is also the time where students can meet in their partnerships or book clubs to discuss the reading
work they have been doing (anywhere from 5-15 minutes).
*Partnerships are comprised of two students reading at the same level in the same book. Likewise,
book clubs are comprised of students (4 is ideal, no more than 6) reading at the same level in the same
book.
Writing Workshop:
Like reading workshop, the writing workshop is comprised of 4 parts; mini-lesson, independent
writing/conferencing time, mid-workshop teaching point, and a teaching share.
Mini-Lesson- The mini lesson takes place at the beginning of the writing workshop and should last
about 10 minutes (no longer than 15). Students should be gathered at a central location (like a carpet)
for the mini-lesson. During this time, the teachers clearly states the teaching point for that day. The
teacher then models the skill or strategy they are teaching. Finally, the students are given a chance to
practice the skill or strategy while still gathered together.
Independent Writing Time/Conferring- Students in 3rd grade should be able to sustain independent
writing for a period of 30 minutes. At this time, students are working independently, most often
practicing the skill or strategy that has been taught in that days’ mini-lesson. During this time, the
teacher is conferencing with students about the work they are doing as writers. This is also time for
small group strategy lessons.
Mid-Workshop Teaching Point- Many times as teachers are conferring with students, they notice that
there is either a common difficulty students are having, or that most students seem to grasp the concept
and are ready to move on. Thus, the mid-workshop teaching point can be used either to clarify
confusion, or to expand upon a strategy to push students to go further in their writing. The midworkshop teaching point is most often decided during the workshop and comes as a result of teacher
observation. This should take no more than 5 minutes.
Share/Partnerships - At the end of a workshop, the teacher takes a couple minutes to wrap up the days
work with a teaching share. Many times the point a teacher makes in the share comes from specific
student work from that days’ workshop. The share should last no more than 5 minutes. This is also the
time where students can meet in their partnerships to discuss the work they are doing as writers.
Shared Reading:
Shared reading refers to the reading of a text that all students can see (like a morning meeting board),
or that all students have a copy of. Shared reading is beneficial to increase word recognition skills,
fluency and concepts of print. It gives students the opportunity to see a teacher working through text.
It is also useful to provide extra support on difficult skills and strategies. Shared reading sessions only
need to last about ten minutes.
Read Aloud:
The read aloud portion of a balanced literacy program should take about twenty minutes on a daily
basis. It is important to note that this 20 minutes occurs outside of the 60 minute block allotted for
reading workshop. Students need to be engaged in and accountable for a read aloud. Therefore,
students should participate in both partnership and whole group discussions during read aloud. This
time is an opportunity for teachers to model behaviors of good readers. These behaviors include
modeling good fluency, characteristics of engaged readers, and good discussion skills. Read alouds
throughout the year should cover a wide range of levels, genres, lengths and themes. When possible,
the read aloud should align with the reading workshop unit of study, as it is useful to touch upon read
alouds in the mini-lesson portion of reading workshop.
Word Study:
The word study component of balanced literacy is the time where phonics, spelling and vocabulary are
focused on and are specifically taught. The Words Their Way program provides the word study portion
of the third grade literacy program.
III. GOALS (Linked to Common Core State Standards)
Reading Standards: Foundational Skills
Foundational Skills
Print Concepts
3.RF
3.RF.1
(There is not a grade 3 standard for this concept. Please see preceding grades for more information.)
Phonological Awareness
3.RF.2
(There is not a grade 3 standard for this concept. Please see preceding grades for more information.)
Phonics and Word Recognition
3.RF.3
Know and apply grade-level phonics and word analysis skills in decoding words.
a. Identify and know the meaning of the most common prefixes and derivational suffixes.
b. Decode words with common Latin suffixes.
c. Decode multisyllable words.
Fluency
3.RF.4
d. Read grade-appropriate irregularly spelled words.
Read with sufficient accuracy and fluency to support comprehension.
a. Read grade-level text with purpose and understanding.
b. Read grade-level prose and poetry orally with accuracy, appropriate rate, and expression on successive
readings.
c. Use context to confirm or self-correct word recognition and understanding, rereading as necessary.
Reading Standards: Literature
Literature
Key Ideas and Details
3.RL
3.RL.1
Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis
for the answers.
3.RL.2
Recount stories, including fables, folktales, and myths from diverse cultures; determine the central message,
lesson, or moral and explain how it is conveyed through key details in the text.
3.RL.3
Describe characters in a story (e.g., their traits, motivations, or feelings) and explain how their actions
contribute to the sequence of events.
Craft and Structure
3.RL.4
Determine the meaning of words and phrases as they are used in a text, distinguishing literal from nonliteral
language.
3.RL.5
Refer to parts of stories, dramas, and poems when writing or speaking about a text, using terms such as
chapter, scene, and stanza; describe how each successive part builds on earlier sections.
3.RL.6
Distinguish their own point of view from that of the narrator or those of the characters.
Integration of Knowledge and Ideas
3.RL.7
Explain how specific aspects of a text’s illustrations contribute to what is conveyed by the words in a story
(e.g., create mood, emphasize aspects of a character or setting).
3.RL.8
(Not applicable to literature)
3.RL.9
Compare and contrast the themes, settings, and plots of stories written by the same author about the same
or similar characters (e.g., in books from a series).
Range of Reading and Level of Text Complexity
3.RL.10
By the end of the year, read and comprehend literature, including stories, dramas, and poetry, at the high
end of the grades 2–3 text complexity band independently and proficiently.
Reading Standards: Informational Text
Informational Text
Key Ideas and Details
3.RI
3.RI.1
Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis
for the answers.
3.RI.2
Determine the main idea of a text; recount the key details and explain how they support the main idea.
3.RI.3
Describe the relationship between a series of historical events, scientific ideas or concepts, or steps in
technical procedures in a text, using language that pertains to time, sequence, and cause/effect.
Craft and Structure
3.RI.4
Determine the meaning of general academic and domain-specific words and phrases in a text relevant to a
grade 3 topic or subject area.
3.RI.5
Use text features and search tools (e.g., key words, sidebars, hyperlinks) to locate information relevant to a
given topic efficiently.
3.RI.6
Distinguish their own point of view from that of the author of a text.
Integration of Knowledge and Ideas
3.RI.7
Use information gained from illustrations (e.g., maps, photographs) and the words in a text to demonstrate
understanding of the text (e.g., where, when, why, and how key events occur).
3.RI.8
Describe the logical connection between particular sentences and paragraphs in a text (e.g., comparison,
cause/effect, first/second/third in a sequence).
3.RI.9
Compare and contrast the most important points and key details presented in two texts on the same topic.
Range of Reading and Level of Text Complexity
3.RI.10
By the end of the year, read and comprehend informational texts, including history/social studies, science,
and technical texts, at the high end of the grades 2–3 text complexity band independently and proficiently.
Writing Standards
Writing
Text Types and Purposes
3.W.1
3.W
Write opinion pieces on topics or texts, supporting a point of view with reasons.
a. Introduce the topic or text they are writing about, state an opinion, and create an organizational structure
that lists reasons.
b. Provide reasons that support the opinion.
c. Use linking words and phrases (e.g., because, therefore, since, for example) to connect opinion and
reasons.
d. Provide a concluding statement or section.
3.W.2
Write informative/explanatory texts to examine a topic and convey ideas and information clearly.
a. Introduce a topic and group related information together; include illustrations when useful to aiding
comprehension.
b. Develop the topic with facts, definitions, and details.
c. Use linking words and phrases (e.g., also, another, and, more, but) to connect ideas within categories of
information.
d. Provide a concluding statement or section.
3.W.3
Write narratives to develop real or imagined experiences or events using effective technique, descriptive
details, and clear event sequences.
a. Establish a situation and introduce a narrator and/or characters; organize an event sequence that unfolds
naturally.
b. Use dialogue and descriptions of actions, thoughts, and feelings to develop experiences and events or
show the response of characters to situations.
c. Use temporal words and phrases to signal event order.
d. Provide a sense of closure.
Production and Distribution of Writing
3.W.4
With guidance and support from adults, produce writing in which the development and organization are
appropriate to task and purpose. (Grade-specific expectations for writing types are defined in standards 1–3
above.)
3.W.5
With guidance and support from peers and adults, develop and strengthen writing as needed by planning,
revising, and editing. (Editing for conventions should demonstrate command of Language standards 1–3 up
to and including grade 3.)
3.W.6
With guidance and support from adults, use technology to produce and publish writing (using keyboarding
skills) as well as to interact and collaborate with others.
Research to Build and Present Knowledge
3.W.7
Conduct short research projects that build knowledge about a topic.
3.W.8
Recall information from experiences or gather information from print and digital sources; take brief notes on
sources and sort evidence into provided categories.
3.W.9
(Begins in grade 4)
Range of Writing
3.W.10
Write routinely over extended time frames (time for research, reflection, and revision) and shorter time
frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.
Language Standards
Beginning in grade 3, skills and understandings that are particularly likely to require continued attention in higher grades as they
are applied to increasingly sophisticated writing and speaking are marked with an asterisk (*).
Language
3.L
Conventions of Standard English
3.L.1
Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
a. Explain the function of nouns, pronouns, verbs, adjectives, and adverbs in general and their functions in
particular sentences.
b. Form and use regular and irregular plural nouns.
c. Use abstract nouns (e.g., childhood).
d. Form and use regular and irregular verbs.
e. Form and use the simple (e.g., I walked; I walk; I will walk) verb tenses.
f. Ensure subject-verb and pronoun-antecedent agreement.*
g. Form and use comparative and superlative adjectives and adverbs, and choose between them depending
on what is to be modified.
h. Use coordinating and subordinating conjunctions.
i.
3.L.2
Produce simple, compound, and complex sentences
Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when
writing.
a. Capitalize appropriate words in titles.
b. Use commas in addresses.
c. Use commas and quotation marks in dialogue.
d. Form and use possessives.
e. Use conventional spelling for high-frequency and other studied words and for adding suffixes to base
words (e.g., sitting, smiled, cries, happiness).
f. Use spelling patterns and generalizations (e.g., word families, position-based spellings, syllable patterns,
ending rules, meaningful word parts) in writing words.
g. Consult reference materials, including beginning dictionaries, as needed to check and correct spellings.
Knowledge of Language
3.L.3
Use knowledge of language and its conventions when writing, speaking, reading, or listening
a. Choose words and phrases for effect.*
b. Recognize and observe differences between the conventions of spoken and written standard English.
Vocabulary Acquisition and Use
3.L.4
Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 3
reading and content, choosing flexibly from a range of strategies.
a. Use sentence-level context as a clue to the meaning of a word or phrase.
b. Determine the meaning of the new word formed when a known affix is added to a known word (e.g.,
agreeable/disagreeable, comfortable/ uncomfortable, care/careless, heat/preheat).
c. Use a known root word as a clue to the meaning of an unknown word with the same root (e.g., company,
companion).
d. Use glossaries or beginning dictionaries, both print and digital, to determine or clarify the precise
meaning of key words and phrases.
3.L.5
Demonstrate understanding of word relationships and nuances in word meanings.
a. Distinguish the literal and nonliteral meanings of words and phrases in context (e.g., take steps).
b. Identify real-life connections between words and their use (e.g., describe people who are friendly or
helpful).
c. Distinguish shades of meaning among related words that describe states of mind or degrees of certainty
(e.g., knew, believed, suspected, heard, wondered).
3.L.6
Acquire and use accurately grade-appropriate conversational, general academic, and domain-specific words
and phrases, including those that signal spatial and temporal relationships (e.g., After dinner that night we
went looking for them).
Speaking and Listening Standards
The following standards offer a focus for instruction to help ensure that students gain adequate mastery of a range of skills and
applications. Students advancing through the grades are expected to meet each year’s grade-specific standards and retain or
further develop skills and understandings mastered in preceding grades.
Speaking and Listening
3.SL
Comprehension and Collaboration
3.SL.1
Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with
diverse partners on grade 3 topics and texts, building on others’ ideas and expressing their own clearly.
a. Come to discussions prepared, having read or studied required material; explicitly draw on that
preparation and other information known about the topic to explore ideas under discussion.
b. Follow agreed-upon rules for discussions (e.g., gaining the floor in respectful ways, listening to others with
care, speaking one at a time about the topics and texts under discussion).
c. Ask questions to check understanding of information presented, stay on topic, and link their comments to
the remarks of others.
d. Explain their own ideas and understanding in light of the discussion
3.SL.2
Determine the main ideas and supporting details of a text read aloud or information presented in diverse
media and formats, including visually, quantitatively, and orally.
3.SL.3
Ask and answer questions about information from a speaker, offering appropriate elaboration and detail.
Presentation of Knowledge and Ideas
3.SL.4
Report on a topic or text, tell a story, or recount an experience with appropriate facts and relevant,
descriptive details, speaking clearly at an understandable pace.
3.SL.5
Create engaging audio recordings of stories or poems that demonstrate fluid reading at an understandable
pace; add visual displays when appropriate to emphasize or enhance certain facts or details.
3.SL.6
Speak in complete sentences when appropriate to task and situation in order to provide requested detail or
clarification. (See grade 3 Language standards 1 and 3 for specific expectations.)
IV. ASSESSMENT
Assessment of student understanding and achievement will be accomplished through:
Reading:
▪ Teacher’s College reading assessment to find independent reading levels
▪ Student maintained reading logs
▪ Reading conferences (one on one and small group)
▪ Post it skill assessment sheet
▪ Reader’s notebook entries
▪ Observations of partnership talk
▪ Book club conversations
▪ Crime Logs
▪ Non-fiction posters
▪ Retellings
▪ Practice standardized tests
▪ NJASK
▪ Oral Reading
▪ TCRWP Benchmark Independent Reading Levels
Writing:
▪
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▪
▪
▪
▪
▪
▪
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NJ Holistic Scoring Rubric
Teacher’s College Narrative Continuum
Student quick writes
Self-reflection
Writer’s notebooks (planning and development of idea)
Conferences (one:one and small group)
Rough drafts
Revising and Editing changes
Published pieces
NJASK practice prompts
NJASK
Teacher created rubrics
Peer conferences
V. SCOPE AND SEQUENCE
See attached tables.
Launching the Reading Workshop
Unit 1: 5 weeks
(September/October)
Understandings
Goals:
 Learn the structure of reading
workshop
 Build a reading community
 Increase reading Stamina
 Develop a reading identity
Skills:
 Learn to choose just right
books
 Readers discuss their reading
with partners
 Comprehension Skills:
1)Predicting
2)Envisioning
3) Monitoring for Sense
4) Connecting
Teaching Points (Possible path
through the unit)

















Readers select books by thinking
about accuracy (Can I read the
words on the page?)
Readers select books by thinking
about comprehension (Can I retell
what happened?)
Readers keep track of their reading
in reading logs
Readers select books by thinking
about fluency (alter voice and tone
to match the writing)
Readers learn how to get the “lost
in a book feeling”. Find a personal
reading spot, tune out distractions.
Readers envision character
Readers envision setting
Readers empathize with the
character
Readers make connections (text to
self, text to text)
Readers talk about their reading
with other students
Readers retell the story including
character, setting, problem,
solution
Readers tell how the important
events fit together (Big idea)
Readers lift level of discussions by
asking questions (Possible
partnership talk)
Readers identify characters actions,
motivations and choices
Readers decode difficult words
Readers use context clues to
determine the meaning of a word
Readers use clues to make
predictions
Resources/Mentor Texts
Possible Mentor Texts:
Any realistic fiction chapter book
such as Ida B. by Katherine Hanigan
Or Pippi Longstocking by Astrid
Lindgren
Supplemented with picture books
Resources:
 Leveled Texts of realistic fiction
from classroom library/school
library Single copies/ multiple
copies- student choice of “just
right” books.
 Teachers College reading
assessment
 Post-it skill assessment sheet
Assessments:
 Teachers College reading
assessment to find students
independent reading levels
 Reading logs
 Reading conferences
 Post it skill assessment
Character Study
5-6 Weeks
(October/November)
Understandings
Teaching Points (Possible path through
the unit)
Mentor Texts/Resources
Goals:
Readers will
 Get to know characters in
their books
 Understand characters and
their relationships with
others
 Understand changes the
character goes through
 Discuss their reading with
peers
 Identify main and
supporting characters and
their roles
Stepping into the story:
 Readers post it for more than one thing
 Readers identify character’s motivations
 Readers identify character struggles
 Readers identify changes in the character
 Readers identify lessons the character learns
Possible enrichment: Introduce secondary
characters to developmentally ready students.
Mentor Texts
 Ida B. by Katherine
Hannigan
 Or Charlotte’s Web by E.B.
White
 Any other fiction book with
a strong main character who
changes over the course of
the book
Skills:
Students will:
 Have effective partnership
conversations
 Identify character traits
 Comprehension skills
 Envisioning
 Inference
Partnership Talk
(Students begin discussing their reading in
partnerships each day)
 Partners come ready with a post it they can
use to begin a discussion
 Readers use evidence from the text to
determine what kind of person their
character is
 Readers have feelings about their
characters.
 Readers think about their characters
relationships with other characters
Getting into the characters’ shoesEnvisioning/Predicting
 Readers use what they know about their
character to understand why they do
something
 Readers use what they know about their
character to predict how they feel about
certain things
 Readers predict how their characters will
react to something based on what they
know about them
 Readers play close attention to the little
details about their character
 Readers infer generalizations about their
character based on what they know
 Readers identify how characters are more
than one way. (not just nice)
 Sometimes characters surprise us and do
things that don’t fit with who they are.
 Readers identify important events that led
to character change
Possible Celebration:
Create a body biography of one of their main
characters.
Picture books to support
Ex:The Recess Queen
Resources
 Duplicate copies of leveled
realistic fiction texts such as:
Magis Treehouse Series (Osborne)
The Chocolate Touch (Catling)
Horrible Harry (Kline)
Junie B. Jones (Park)
Gooseberry Park (Rylant)
A Taste of Blackberries
Ramona Series (Clear)
Bunnicula Series (Howe)
Amber Brown Series (Dazinger)
Clementine Series (Pennypacker)
Phineas T. McGuire Erupts
Marvin Redpost
Summer of Riley
The Chalkbox Kid (Bulla)
* Any other realistic fiction book
with a strong character will
work here- as long as they aren’t
used in the mystery or historical
fiction unit
 Post- it assessment sheet
Assessments:
 Reading logs
 Reader’s notebook
entries
 Conferences
 Partnership talk
 Post-it assessments
Mini Unit
Introduction to Book Clubs
2-3 weeks (November)
Understandings
Goals:
 Learn how to sustain a
conversation centered
around the text
 Respect and
encouragement of peers in
club
 Respond in writing to
reading
Skills:
 Comprehension Skills
- Questioning
- Inference
 Talk longer about a specific
topic
 Use evidence from text to
support conversations
 Write longer about a post-it
idea
Teaching Points (Possible path
through the unit)
Mentor Texts/Resources/
Assessments
In this unit, comprehension skills are
taught simultaneously with discussion
skills used in book club. They are paired
together. Some may be taught in one
day, others may take multiple days.
 Comprehension Skill: Readers think
about questions that come to mind as
they pick up a book.
 Book Club Skill: Members of a book
club set expectations for club behavior
(coming prepared, respect)
Mentor Texts:
Class set of a novel such as
Because of Winn-Dixie by Kate Di
Camillo or The Chocolate Touch
by Patrick Skene Catling
 Comprehension Skill: Readers
connect to the book by continuing to
ask questions as they are reading.
 Book Club Skill: Readers come to the
discussion with a post it they can talk
about. Begin with a quick summary,
then talk about post-its
Assessment:
 Reading logs
 Reading conferences
 Assess Book Club
conversations
 Comprehension Skill: Readers
questions are not always answered,
but they can push themselves to think
more deeply by asking “what does
this really mean?”
 Book Club Skill: When someone in
the book club shares an idea, talk
longer about it by saying “say more”
or “Let’s find that place in the book”
 Reading Response Skill: Readers take
an idea from a post-it or book club
and write longer about it.
 Comprehension Skill: Readers keep
track of all different kinds of thinking
as they read
 Book Club Skill: Choose the post-it
you are most proud of. Take turns
talking off that post-it
 Comprehension Skill: Readers use
text clues and schema to make
inferences about what they read.
 Book Club Skill: Readers respond to
others post its by either agreeing and
Resources:
 Class set of novels
 Reading response
journals
 Reader’s notebooks
adding to it, or disagreeing and telling
why
 Comprehension Skill:
Readers think about the big idea of a text
 Book Club Skill: Readers talk longer
about a topic by going back to the
book and rereading confusing or
interesting parts
 Readers use their notebooks as a place
to record their reflections about the
book, or the action they will take after
reading the book
Genre Based Book Clubs: Mystery
December/January (5-6 weeks)
Understandings
Teaching Points (Possible Path
Through Unit)
Mentor Texts/Resources
Goals:
 Understand the genre of
mystery and specific text
features: crime solver,
suspects, mystery, vocabulary
*Revisit previously taught book club
strategies throughout unit as needed
Mentor Texts:
Mystery book such as:
Key to the Treasure by Peggy Parish
or any Encyclopedia Brown book.
 Readers identify the special
vocabulary of a mystery
 Readers first determine what the
mystery is (plot list)
 Developing a sense of how
mysteries tend to go
 Members of a book club decide
how much to read each day and
 Understand the importance of
make and keep group deadlines
reading text closely
 Readers identify the crime solver
 Set and maintain goals about
in a mystery
the amount of reading the club
will do
 Readers identify the suspects in a
mystery
Skills:
 Readers use clues from mysteries
 Comprehension Skills
to make predictions
Inferencing
 Readers entertain more than one
Close reading
prediction
Synthesis
 Mystery readers read closely and
Prediction
suspiciously. They may have to
 Coming to book clubs
revise their predictions
prepared
 Readers use a timeline to keep
track of the crime
 Readers grow ideas about
characters. They think “What
kind of person would commit this
crime? Is my character that kind
of person?”
 Readers use inference to identify
the meaning of clues
 Readers synthesize patterns
between mystery books
Possible celebration: Complete a
police report of a crime
Resources
 Multiple copies (5) of
leveled mystery books
(See Appendix A)
 Crime log
 Reader’s Notebook
 Reading logs
 Post-it assessment chart
Assessment
 Crime Log
 Reading log
 Post-it assessment sheet
 Conferring
 Listening in on book club
conversations
Non-Fiction
January/February (6 weeks)
Understandings
Goals:
 Understand text structure
of narrative non-fiction:
glossary, headings, subheadings, captions,
pictures, diagrams, labels,
bold text, text boxes,
index,
 Understand text structure
of expository non-fiction
 Be able to locate
information within a nonfiction text
Skills:
 Determining Importance
 Using context clues
 Identifying main idea
 Envisioning setting
 Summarizing
Teaching Points (Possible path
through the unit)
Mentor Texts/ Resources
Narrative Non-Fiction
Mentor Texts:
 Readers rely on what they know
 I Have a Dream: The Story of
about fiction to read narrative nonMartin Luther King by
fiction
Margaret Davidson
 Readers envision setting and time
 Any well structured non
period through clues
fiction text on a topic that
matches student interests.
 Readers identify the
struggles/challenges characters
Resources:
reveal as in fiction
 Collection of narrative non Readers make timelines of
fiction picture books (from
important events
library)
 Readers pay attention to
 Collection of expository
characters reaction to events and
non-fiction picture books
use this to identify character traits
(from library)
 Characters draw on resources they
 Collection of non-fiction
have to meet challenges
books on 1-4 specific
selected topic (i.e. multiple
 Readers develop theories about
books about sharks)
characters
 Professional Resource: Non Readers grow ideas about
Fiction Reading Power by
characters as in fiction
Adrienne Gear
 Readers chunk narrative nonAssessment:
fiction texts based on
time/important events
 Reading logs
 Readers revise their theories about
 Celebration posters
characters
 Conferences
 Readers identify big ideas or
 Student writings
lessons that the book character
teaches
Exploring Expository Non-Fiction
 What is expository non-fiction
(make a venn diagram comparing
it to fiction)
 Readers notice text features and
know how to use them (index, etc)
 Readers ask questions while
reading non-fiction
 Readers identify the main ideas of
a section
 Readers differentiate between
“cool” facts and those that support
the main idea
 Readers “read” illustrative
portions and determine how it fits
with the main idea
Using non-fiction to collect
information
Choose a class topic for research
 Readers activate prior knowledge
about a topic
 Readers use context clues to deal
with tricky vocabulary
 Readers substitute synonyms to
deal with tricky words
 Readers chunk non-fiction reading
 Readers act out information as
they learn to better understand it
 Readers determine the big idea of
an entire text
Possible Celebration: Create
Investigation Posters
Traditional Literature Mini Unit
March 2-3 Weeks
Understandings
Teaching Points (Possible path
through the unit)
Mentor Texts/ Resources
Goals:
 Students will understand
the structure of
traditional literature:
follow a simple plot line,
characters do not change,
specific language, (once
upon a time, happily ever
after), things that happen
in threes, good verses
evil, magical powers,
trickery.
 Students will identify
themes and lessons
Skills:
 Identify story elements
 Identify character traits
 Identify lessons
 Identify language of the
genre
Immersion in the genre Readers understand that folk tales
reflect their culture and were passed
down from generation to generation
orally for a long time.
 Folktales follow a plot diagram as in
fiction. Knowing this can help us
predict
 Characters in folktales are flat. They
are good or bad, they don’t change.
Can predict who will “win” and who
will “lose”
 There are different types of problems
in folktales (other people? Nature?
Themselves?)
 Things often happen in threes.
Knowing this can help predict
 Many times there is an element of
magic
Resources:
Collection of traditional
literature including myths,
legends, folktales, fairy tales.
These are in:
 Open Court
 School Library
 Native American
legends from S.S. unit
 Tall Tales
Assessment:
 Reading logs
 Reader’s notebooks
 Post-it assessment chart
 Conferences
 Retelling of folktale from
alternate perspective
Lessons and Themes
 Folktales are told to teach a lesson.
What is this story trying to teach?
 Names are very important in folktales
(after nature, a trait). Readers think
“why is this character named that?
Does it have a deeper meaning?”
 Readers can get clues about the theme
from small details in a story such as
illustrations and title.
 Readers think about what kind of
challenges the characters face. This is
often a clue to understanding the
theme
Reading Beyond the Text
 Readers think about who has the
power in the story. They identify the
good and bad characters, the
“winners” and “losers”
 Readers recognize different versions
of the same story from different parts
of the world (Many different
Cinderella stories). They then
compare and contrast them.
 Readers think about the point of view
of the story. Is it told from first or
third person. Readers make sense of
the story by asking “who do we see

the most? Who is doing most of the
talking? Who is not seen or heard?”
Knowing traditional literature is
helpful because they are referred to in
many modern stories. Knowing this
can help increase understanding of
modern stories
Possible Celebration
Readers can imagine the story told
from a different perspective or
through a different character’s eyes.
“How would the story change if…?”
Studying the Genre of Tests as Preparation for the NJASK
March/April (5 Weeks)
Understandings
Goals:
 Understand the unique
content, format,
procedures, and
vocabulary of tests
 Apply reading skills to
the genre of test taking
 Perform successfully on
the NJASK test
Skills:
 Navigate specific
vocabulary, content,
format, procedures
 Asking questions
 Envisioning
 Inferring
 Synthesizing
 Activating Schema
 Determining Importance
 Monitoring for meaning,
adjusting when meaning
breaks down
Teaching Points (Possible path
through the unit)
Immersion:
 Readers identify unique features
concerning the format of tests
 Readers identify the unique features
concerning the content of tests
 Readers identify the unique features
concerning the vocabulary of tests
 Readers identify the unique
procedural demands of tests
 Readers compare the demands of
work they do for test evaluators to
work they do for themselves or
teachers
Applying Reading strategies to the
genre of tests
Asking Questions:
 Readers notice patterns of questions
across tests to determine what kinds
of test questions they can expect
 Readers differentiate between the
question structures to determine what
kind of response is required (multiple
choice, multiple part, open ended)
 Readers use specific clues of a test
item to point them toward the correct
answer, information (ie- in the graph
below)
Envisioning:
 Readers envision the test to keep an
ongoing mental snapshot to quickly
locate specific sections (eg the
character is described in the second
paragraph)
 Readers keep track of sensory details
to enhance understanding. (eg I can
sense that the dog in the poem is very
ill.)
Inferring:
 Readers infer to determine a test
item’s “under-written” question
 Readers infer to determine the
meaning of individual words or
phrases
 Readers pay close attention to the
words in the test question that signal
them to infer (E.g. What will most
likely occur next?)
Synthesis:
Mentor Texts/ Resources
Mentor Texts:
 Put Thinking to the Test by
Conrad, Matthews,
Zimmerman, Allen
Resources:
 Collection of released
standardized tests:
http://edinformatics.com/testing
/testing.html :
http:www.measinc.com :
http://search.yahoo.com/search?
p=released+test+questions
 Released scoring rubrics
Assessment:
 NJASK
 Teacher observation
 Practice tests

Readers synthesize to come up with
the main idea of a piece
 Readers recognize that some
questions have multiple parts and
each part must be taken into account
for a correct answer
Activating Schema:
 Readers identify test words or phrases
that let them know when to use their
schema in answering a questions vs.
when they should use only what is
written in the test
 Readers use what they know about
scoring rubrics (expectations) to
compose more effective answers
Determining Importance
 Readers identify the test words and
phrases that tell them they are
supposed to be determining
importance (summarize, main idea)
 Readers determine what the question
is really asking them to do before they
answer it
 Readers read the question before the
passage so they can set a purpose for
reading
Monitoring for Meaning and Problem
Solving:
 Readers pay close attention to
directions, format and expectations.
These often change halfway through
tests, so readers need to monitor to
stay on track
 Readers use the process of elimination
to eliminate unnecessary and
unreasonable answers
 Readers identify internal motivators
and external restraints of test taking to
maintain stamina
Historical Fiction Book Clubs
May/June (3-4 Weeks)
Understandings
Teaching Points (Possible path
through the unit)
Mentor Texts/ Resources
Goals:
 Understand the genre
of historical fiction
 Understand the cultural
differences found in
different historical time
periods
 Discuss reading with
peers in book clubs
Skills:
 Envisioning
 Identifying story
elements
 Inference
 Tracking character
development
*Review/Reteach book club expectations
and strategies from previous units as
needed throughout unit
Mentor Texts:
 Dandelions by Eve
Bunting
 Freedom School, Yes! By
Amy Littlesugar
 Going North by Janice
Harrington
 Nettie’s Trip South by
Ann Turner
 The Ghost Dance by Alice
McLerran
 Any historical fiction
novel to be used as read
aloud
Resources
 Multiple copies (5) of
leveled historical fiction
books (See Appendix A)
 Reader’s Notebook
 Reading logs
 Post-it assessment chart















Readers pay close attention to the
setting and understand that many
setting clues are given at the beginning
of a text
Reader’s envision what it would be like
to live in the character’s world
Readers identify whether text opens
with character problem or historical
problem
Readers know that there are often two
stories taking place at once and keep
track of them (character changes,
historical changes)
Readers revise their vision of the world
as the author gives more clues
Readers rely on context clues to build
vocabulary
Readers use envisioning skills to help
identify synonyms for unknown words
Readers describe details of a place/time
and how it is different from
places/times they know
Readers play close attention to
relationships and how they support or
challenge the character
Readers empathize with characters who
are inherently different from them
Readers relate lessons learned in
historical fiction to their lives here and
now
Readers notice how characters are
represented and any stereotypes present
Readers notice whose perspectives and
points of views are represented in the
stories and whos are ignored
Readers identify how the character is
related to the historical conflict?
Bystander? Hero? Unwilling hero?
Readers of historical fiction often love
some elements of the book and “hate”
others. (ie, love the character, don’t like
what is going on in the time period)
Assessments:
 Reading logs
 Reader’s notebook
 Conferences
 Post-it assessment sheet
Author Study
June (2 weeks)
Understandings
Goals:
 Students will make
generalizations across
books
 Students will make
generalizations across
authors
Skills:
 Making connections
 Synthesizing
 Predicting
Teaching Points (Possible path through
the unit)







Readers notice similarities across books
by a single author
Readers notice writing techniques the
author uses repeatedly
Readers notice character traits that are
similar across texts
Readers use what they know about an
author to predict what will happen in a
text
Readers notice that authors sometimes
surprise us by going against what they
usually do
Readers develop theories about the
author and their life based on their
stories
Readers wonder about choices the
author makes
Possible Celebration:
Author/Book Talk; Letter to the Author
Mentor Texts/ Resources
Mentor Texts:
 Collection of works by a
single author such as
Patricia Polacco, Bill
Pete
Resources:
 Book Collections (See
Appendix A)
 Reading logs
 Reader’s Notebook
 Post-it assessment sheet
Assessment:
 Conferences
 Reading logs
 Reader’s Notebook
Launching the Writing Workshop
Unit 1: 4 weeks
September/October
Understandings
Goals:
 Learn the structure of
writing workshop
 Build a writing
community
 Compose a personal
narrative
Skills:
 Learn to move through
the writing process from
collecting ideas to
publishing
 Building stamina
 Learn to use mentor texts
to support own writing
Grammar Skills:
 Capitalization (Places,
streets, months, etc.
 Pronoun substitution
(without overuse)
Teaching Points (Possible path
through the unit)
Resources/Mentor Texts
Possible Mini-Lessons:
Immersion:
 Day 1: Have students write an ondemand personal narrative (Fall
Writing Sample)
 Day 2: Use photocopies of samples
and have students revise their pieces
 Day 3: Edit copies of samples
 Set up structure and routines of
writing workshop: Introduce and
distribute notebooks and set-up
expectations for notebooks (e.g. neat,
circle words that are uncertain of the
spelling, date each page, headings,
etc.)
 Read mentor texts and elicit ideas
about what good writers do
 Read samples of personal narratives
(mentor texts and student samples)
and notice the structure of the pieces
Possible Mentor Texts:
 Big Mama by Donald Crews
 Shortcut by Donald Crews
 Noisy Nora by Rosemary Wells
 The Very Last First Time by Jan
Andrews
 Knuffle Bunny by Mo Willems
 Charlotte’s Web by E.B. White
(Leads)
 Chrysanthemum by Kevin Henkes
 Owl Moon by Jane Yolan
 The Leaving Morning by Angela
Johnson
 Fireflies by Julie Brinckloe
 The Relatives Came by Cynthia
Rylant
 Patricia Polacco’s books
 Peter’s Chair by Ezra Jack Keats
 A Bad Case of the Stripes by David
Shannon
Gathering/Generating:
 What do you remember about
personal narratives from last year?
 Review watermelon vs. seed ideas
 Possible strategies for gathering ideas:
o Special people
o Special places
o Special time
o Remembering a time when
you had a strong emotion
Planning/Drafting:
 Choosing the seed idea
 Creating a movie in your mind
 Creating a timeline
 Create a story mountain
 Zooming in/Exploding the main idea
 Sketch the moment
 Step-by-step writing – slowing down
the action of the moment
Revision:
 Revising for leads
o Action
Resources (Available in
Professional Collection in School
Library):
 Units of Study: Grades 3-5 by Lucy
Calkins
 How’s It Going? by Carl
Anderson
 Assessing Writers by Carl
Anderson
 Craft Lessons by Ralph Fletcher
and Joann Portalupi
 The Power of Grammar by Mary
Ehrenworth and Vicki Vinton
Possible Conferences:
(Conferences should be based on
what you are seeing in your
students’ pieces.)
 Where do ideas come from?
 Bed-to-bed stories - How can
you make your story more
focused?
Assessments:



o Setting
o Flashback
o Character description
o Dialogue
Revising for endings
o Action
o Dialogue
o Full circle endings
o Suspense
Show, Don’t Tell (For example,
dialogue, character’s thoughts and
feelings, slowing down the action)
Using a revision checklist
Editing:
 Review capitalization
 Review ending punctuation
 Learn how to use an editing checklist
to monitor own writing
Publishing:
Publish/Celebrate



First week quick write
Self-reflection (e.g., “What am I
proud of?” “What is a goal I
have for next time?”
Rubric based on TC Narrative
Continuum (By using this rubric
to assess published pieces, it will
help inform your teaching and
assist in the planning of your
Unit 2 mini-lessons.)
Raising the Quality of Narrative Writing
Unit 2: 4 Weeks
October/November
Understandings
Teaching Points (Possible path through
the unit)
Goals:
 Teach into the
intricacies of personal
narrative.
 Establish writing
partnerships.
 Teach students to craft
with purpose.
 Finding significant
stories in our lives.
Reflections on Last Unit:
 Where is our class as writers? (focus,
sentence structure, word choice, mechanics)
 Use the first personal narratives to guide
mini-lessons.
Skills:
 Learn how to join two
or three small moment
scenes together
 Find significance in
stories by asking,
“What am I really
trying to say?”
 Learn how to work
with a partner to
improve writing.
 Continue to develop
author’s craft and raise
the bar (Leads, endings,
Show, Don’t Tell).
Grammar Skills:
 Introduce Adjectives
 Verb Tenses and
Forms:
(drink/drank/drunk,
throw/threw, go/went,
swim/swam/swum)
 Contractions
Possible Mini-Lessons:
Immersion:
 Read mentor texts and discuss what good
writers do.
 Use photocopies of personal narratives
from the previous unit and past years to
highlight and discuss qualities of personal
narratives.
Gathering/Generating:
 Think about what we already know about
generating ideas for stories.
 Review watermelon vs. seed ideas
 Possible strategies for generating ideas:
o Write about a time you learned
something
o Write about a time you felt a strong
emotion
o Write about a time you struggled with
something
o Think of the first time you did
something and then think about why
this is important
o Think of the last time they did
something and then write the story
Planning/Drafting (Consider having students
draft 2 personal narratives and then student
would decide which one to take through
revision):
 Select a seed idea - study a touchtone text
(Fireflies, Brinkloe)
 Drafting-students will make a movie in their
minds (timeline) and draft quickly. Writing
over pages, each piece of the time line is a
new page. (Two days)
 Writers focus not only on narrowing the time
frame, but also on deciding the angle from
which the story is told (What do I really
want my reader to know and feel?)
 Choose a second seed idea that will help
Mentor Texts/Resources
Mentor Texts:
 Use texts from first unit
Resources:
 Units of Study: Grades 3-5 by
Lucy Calkins
Possible Conferences:
(Conferences should be based on
what you are seeing in your
students’ pieces.)
 Focus of the story
 Significance of the story
 Joining two or three small
moments together
Assessments:
 Quick write at the end of the
unit to be scored using NJ
Holistic Rubric
 Rubric based on TC
Narrative Continuum
answer the question, “What do I want the
reader to know about me?” or “What am I
trying to show about myself?”
 Practice storytelling to help us think about
how to build tension in our stories. Stretch
out the important parts and capture the
listener.
 Create a story mountain.
 Writers put together two or three scenes
(small moments), one right after anotherbeginning, middle, end
Revision:

Select a draft for revision to bring to
publication.

Write a variety of leads with action,
dialogue, or the setting.

Writers get ideas for revision by rereading
a touchtone text and noticing sections that
affect them and borrow it for their writing.
For example, how does the author uses
dialogue?

As writers you also need to be listeners.
By being good listeners, you can help your
writing buddy find significance in small
moments – “What is he/she really trying
to say?”

Let’s look back at Fireflies and see if we are
seeing the external story or if we are also
seeing the internal story (tell only the
external story and then go back and decide
which parts are the internal story). Write
the external story only on a chart.
Editing:
Create an editing checklist that addresses
the skills that have been worked on by the
class. The checklist should hold students
accountable for the skills that have already
been taught.
Publishing:
 Publish/Celebrate
Realistic Fiction
Unit 3: 5 Weeks
December/January
Understandings
Teaching Points (Possible path
through the unit)
Goals:
 Students will develop a
short fiction story with a
problem and a solution;
setting is an important
part of the plot
 Author makes at least
three attempts before the
problem is solved
 Author develops a main
character has external
and internal dialogue
 Main character shows
(not tells) feelings
 Author uses story
language
Reflection on previous unit:
 Personal narratives with building tension
 Use of dialogue
 Strong leads and endings
 Ability of students to find meaningful
stories
Mentor Texts:
 Knuffle Bunny by Mo
Willems
 Ezra Jack Keats books
 Patricia Pollaco books
 Eve Bunting books
Possible Mini-Lessons:
Immersion:
 Discuss the genre of realistic fiction.
 Read and discuss various examples of
realistic fictions books – Explore
characters, setting, point of view, etc.
Resources:
Jack Gantos’ Website: (Under
“Press Room Tab:” The Next Level:
Skills:
 Learn how to develop
characters using internal
and external
characteristics
 Learn how to develop
attempts at solving a
problem and a final
solution
 Learn how to use mentor
texts to support the
writing of the story
Grammar Skills:
 Paragraphing
 Punctuating Dialogue
 Introduce Adverbs
Gathering/Generating:
 Develop characters for stories
o Characters have traits
o Characters have troubles
o Characters have strengths
 Inside traits vs. outside traits What do
they do vs. what do they say
 Possible troubles they character can get
into and what do they do about it
 Practice storytelling using story
language
 Choose a character
 Practice writing scenes for the troubles
Planning/Drafting:
 Preparing to begin drafting by planning
out the story with a time line or a story
board
 Create a story mountain so that the
story builds excitement Need 3
attempts to solve the problem, the third
on being successful (2-3 small moment
stories should be in there)
▫ Drafting over five sheets of paper:
#1 introduce the character; #2
introduce the problem, #3 first
attempt to solve, #4 second attempt
to solve, # third attempt to solve
and conclusion
▫ Setting and action in the story
▫ Closing and a quick wrap up of the
problem
Mentor Texts/Resources/
Assessments
Using Journals to Write Great Short
Stories, by Jack Gantos (Book Links)
http://www.jackgantos.com/bookli
nks.html
Possible Conferences:
(Conferences should be based on
what you are seeing in your
students’ pieces.)
 Dialogue
 Storytelling not summaries
 Building tension
 Believable stories
 Finding stories with
meaning
Assessment:
 Stories will be assessed
using the NJ Holistic Rubric
or the rubric based on TC
Narrative Continuum
Revision:
 Stretch out the exciting parts with
“Show, Don’t Tell” writing
 Adding dialogue
 Looking closely at our writing to build
tension
 Leads
Editing:
Create an editing checklist that addresses
the skills that have been worked on by the
class. The checklist should hold students
accountable for the skills that have already
been taught.
Publish and Celebrate:
Students can create their own storybooks
and present them to other classes, parents,
or each other.
Personal Essay
Unit 4: 4 Weeks
February/March
Understandings
Goals:
 To understand the difference
between narrative and nonnarrative writing
 To create a thesis or big idea
 To collect information in
support of a thesis
 To organize collected
information into a
introduction, 3 body
paragraphs, and a conclusion
Skills:
 Learn to write a five
paragraph piece
 Learn how to write an
effective thesis
 Learn to collect information
that will support a thesis
 Learn to keep information
organized
Grammar Skills:
 Paragraphing
 Commas in a list
 Singular and Plural
Possessives
Teaching Points (Possible Path Through
Unit)
Mini-Lessons:
In mini lessons, begin to develop a class
personal essay to be used to model each step
as we move through the unit.
Immersion:
 Use your own essays and past student
samples to introduce the students to the
genre.
 Have students look at the structure of a
personal essays - What do you notice
about the structure of the piece? How
does it differ from the other genres we
have studied?
Gathering/Generating:
• Make observations from the real worldstop and think about everyday things
• Reread entries from earlier in the year
• Think about things that are important to
you
• Think about things you know a lot about
• Think about people that matter to you and
important moments with them
o Then take some of these topics and
"free-write" in the notebook at length
about them (The ideas here is to see
how much they have to say about
each possible topic). Students should
include how they feel about the
topic, what they think about it. They
want to write this as ideas about a
topic as opposed to stories as in
previous units.
o Students should reread what they
have been writing and select an idea
that they have a lot to say about, or
they find interesting or important.
Model for students how to write a
Thesis statement, or a claim about
their idea. Ex. We should have more
field trips at school. Then write
three "because" statements: (This
needs to be very structured, even if it
sounds monotonous)
We should have more field trips
Mentor Texts/Resources
Mentor Texts:
Oliver Button is a Sissy by
Tomie DePaola
William's Doll, Fly Away Home,
The Memory String, Smoky
Night by Eve Bunting
Student Samples
Teacher Samples
Resources:
 Units of Study: Grades 3-5
by Lucy Calkins (The
Essay Book should just be
used as a resource. Many
of the lessons are too
advanced for third
graders.)
Possible Conferences:
(Conferences should be based
on what you are seeing in
your students’ pieces.)
 Looking for supporting
information
 Once the student has
developed a thesis
statement with three
“reasons why”, confer to
be certain that the reasons
are clearly different, and
not rewording the same
reasons
 Making a thesis stronger
Assessment:
 NJ Holistic Scoring
Rubric
 After publishing, students
should practice writing
some essays fast (in one
period). For the NJ ASK
they will have to respond
to prompts that call upon
the ability to make a
statement and support it
with examples.
because....
We should have more field trips
because....
We should have more field trips
because....
They can do this with a few different
topics to be sure they know which one
they have the most to say about.
Planning/Drafting:
(Drafting each paragraph on a separate sheet
of paper works well. It allows students to
have more room to add more information
and to reorganize the sequence of the body
paragraphs.)
 Use a graphic organizer and start to fill
these elements in so students can see
where visually where they are headed.
(Some graphic organizers are included).
 Model an introductory paragraph starting
with thesis, then 3 supporting because
statements, a concluding sentence that
points forward to the rest of the essay.
 Model body paragraph starting with main
idea of paragraph. Students write shorter
versions of small moment stories that
prove and support their ‘because’
statement.
Ex. Because statement: We should
have more field trips because they're
educational
Supporting story: Tell a story about a
field trip we went on and something
specific we learned on it.
Fill in graphic organizer with because
statements and ideas of stories that
would support it.
Draft each body paragraph.

Concluding Paragraph:
Revisit mentor texts from the beginning of
the unit and focus on the ways in which
the authors concluded their stories. Make
a list of strategies the mentors used that
we can try and borrow. Show that it
rewords beginning and shows why the
topic was important to the writer.
Students draft a few possible conclusions
in notebooks.
Revision:
Revise lead – Use a quote, anecdote,
question, or small moment to catch the
attention of the audience.
Revise thesis to make it stronger
Using transitions to write as a complete draft Use mentor texts again to find example of
transitions from one paragraph and/or topic
to another. Create a list of transitions that can
be used.
Make sure supporting information is not
repetitive.
Reorganize the order of the body paragraphs
to best support the thesis.
Revise conclusion - State thesis in a new way.
Editing:
Create an editing checklist that addresses the
skills that have been worked on by the class.
The checklist should hold students
accountable for the skills that have already
been taught.
Publishing/Celebrating: Students will put
their paragraphs together to form a five
paragraph piece.
Test Prep
Unit 5: 3 Weeks
April / May
Understandings
Goals:
 Consider the layout,
content and vocabulary
of the writing section of
the NJASK.
 Compare and contrast
test writing and
workshop writing.
 Match appropriate mode
of writing to each
NJASK writing task.
 Apply narrative and
expository writing skills
to NJASK writing tasks.
 Develop strategies to
write pieces from
prompts in a timed
setting.
 Revise and edit practice
pieces.
 Reflect on practice pieces
in order to set goals for
next practice piece.
Skills:
 Explain prompt
directions in own words.
 Use a pre-writing strategy
to plan a story or
composition.
 Write well-structured and
crafted stories,
compositions and
responses to given
prompts in time allotted.
 Use NJASK writing tools
(rubrics and checklists) to
revise and edit practice
pieces.
Teaching Points (Possible Path Through the
Unit)
This unit focuses on three sections of the NJASK:
the speculative prompt (story writing), the
poem/composition prompt (expository writing),
and the open-ended responses following reading
passages. Possible Teaching Points:
Immersion:
 Writers get to know the layout of the NJASK
writing sections by asking, “What do I notice
about how this part of the test looks on the
page?”
 Writers get to know the meanings of words
(vocabulary) in these sections by asking, “What
does this word mean?” and “How is this
familiar word used differently?”
 Writers study the prompt directions and ask,
“What kind of writing are the test-authors
asking me to do here?”
 Smart writers know their audience during a test
and how their writing will be scored. Let’s
review the New Jersey Holistic Scoring Rubric
and what each part means.
 Writers study sample NJASK pieces that
received a high score on the Holistic Scoring
Rubric. They notice the qualities of strong
writing in these pieces (students can read both
stories and compositions).
Planning / Drafting: Speculative Prompt
 Writers review the story elements and what
they know about the structure and craft of a
well-written story.
 Sometimes test authors give us a part of the
story in the prompt (Ex: they give us the
opening scene or the characters’ names). We
still need to include all the elements of a story
in our own piece (Ex: We still need to write an
opening and use the characters’ names – even if
it was included in the prompt).
 Writers need a way to quickly plan (or “prewrite”) a story. We can choose a pre-writing
strategy that works best for us in a test setting.
Here are some strategies we could try:
o Draw a story mountain.
Mentor Texts/ Resources
Mentor Texts:
 Writing Sample CDs
provided by the principals.

Teacher-models of writing
in this genre.

Sample stories,
compositions and
responses from the
NJASK (Released by the
NJ Department of
Education – in print and
on the web).
Resources:
 Put Thinking to the Test by
Lori Conrad, et al.

A binder of practice
prompts and passages can
be obtained in your school
office or professional
library.

Massachusetts’ MCAS
website.

NJASK Website
maintained by NJ DOE.
Assessments:
 NJ Holistic Scoring
Rubric
o

List the important story elements: the
setting, characters, and the
problem/solution.
Writers get ready for the speculative prompt by
writing practice stories from sample prompts
(Students can practice several speculative prompts
throughout the unit).
Planning / Drafting: The Composition
 This prompt asks us to write about an idea such
as ‘sharing’ or ‘bravery.’ The test-authors
include a poem to get us thinking about that
idea (they do not want us to write a poem).
 Writers re-read sample NJASK compositions
and think, “What parts of this composition
remind me of a personal essay? What parts of
this composition remind me of a personal
narrative?” (We noticed the high-scoring
compositions seem to be a hybrid of both genres).
 This prompt lists several points to include in
our composition. Writers make sure they write
about each point in their composition.
 Writers need ways to quickly plan a
composition. We can choose a pre-writing
strategy that works best for us in a test setting.
Here are some strategies we could try:
o
o

Think back to the poem. Was there a
time you had a similar experience?
Write about that time. Be sure to
answer all the points listed in the
prompt.
Make an outline/list: Jot down the
topic you want to write about. Then, jot
down your answer to each point in the
prompt. You can use this list as an
outline while you draft.
Writers get ready for the NJASK by writing
practice compositions from sample prompts
(Students can practice several composition prompts
throughout the unit).
Planning / Drafting: Open-Ended Responses to
Reading Passages
 Like the composition prompt, this prompt gives
us more than one point to write about in our
response. Writers make sure they answer each
point in their response.
 Writers can organize their response by turning
each listed point into a topic sentence.
 Writers know it is important to write a long
response with many details. Here are some
ways we can write long:
o Writers use evidence from the reading
passage to support their opinion. We
can do this by using the phrase, “I think
this because…” or “One example…”
and then giving an example from the
passage.
o Writers can explain how the example
from the passage supports their opinion
with a phrase like, “This example
shows…”
Revision/Editing Pieces Written in All Three
Sections
 Writers reflect by thinking, “How is test
writing different than workshop writing?”
 We can use the scoring rubric to reflect on
what we did well in our practice piece, and to
set goals for next time. (One possible reflection
strategy is to have students color-code one
section of the rubric with the corresponding
section of their piece. Ex: “Has an opening and
closing” is highlighted in yellow on the rubric.
Students would highlight their opening and
closing with yellow. If students forgot to write
an opening or closing, they can revise begin to
revise).
 Writers can use scored sample NJASK writing
pieces to set goals. We can read the sample
pieces and ask, “Which sample do I want my
writing look like? What goals do I have for my
next practice piece?”
 Writers work with partners to help them revise
their practice pieces for meaning and clarity.
 Writers get to know the revision and editing
tools the test authors give them. Let’s review
the NJASK “Writers Checklist” and see how it
can help us revise and edit in a test setting.
 Writers review all that they know about
capitalization, punctuation and spelling, and
use it to polish their pieces.
Poetry
Unit 6: 4 Weeks
May/June
Understandings
Teaching Points (Possible Path Through Unit)
Goals:
 Read poems from a
variety of stances.
 Read poems with fluency
and expression.
 Use various strategies to
write poems in a variety
of styles and modes.
 Make purposeful
revisions that affect the
meaning and sound of
poems.
 Purposefully edit poems
for poetry punctuation
and capitalization.
 Consider ways poetry is
published in the real
world.
 View the world as a poet.
Immersion: Poets fill their eyes and ears with poems they
love. Possible Teaching Points:
Skills:
 Read poems to make
personal meaning.
 Read poems to notice
poetic craft and
structures.
 Gather ideas for writing
poems.
 Write poems in a variety
of styles and modes using
various approaches and
strategies.
 Organize poems in
meaningful ways through
the use of stanzas.
 Purposefully break
sentences over lines
(considering line length,
phrasing and meaning).
 Write with specific nouns
and vivid verbs.
 Combine words in fresh,
surprising and striking
ways.
 Employ author’s craft
(figurative language) such
as similes, metaphors,
and onomatopoeia.
 Purposefully choose and







Often, writers launch a new project by reflecting on
what they already know about the genre. We can
ask, “What do we know about poetry?” (Possible
KWL Chart).
Reading Poetry: We’ll be reading lots of poetry!
When we read poetry today, we can ask ourselves,
“What do I notice about poetry?” (Heard, Reading
Center, pg. 15).
The Language of Poetry: Poets use words in fresh
and interesting ways. This is called “poetic
language” (Heard, Amazing Language Centers, pg. 8 11).
The Structure of Poetry: The structure of poetry is
just as important as the words of poetry. Today, as
your read poems, think about these structures:
What do you notice about stanzas? Line length?
Punctuation and capitalization? (Heard, Revision
Center, pg. 14).
Seeing the World Like a Poet: Poets observe the
world carefully, thinking, “What does this look
like? Sound like? Feel like? What does this remind
me of?” (Heard, Discovery Center and Poetry Window,
p. 12.).
Reading Poetry Aloud/ Listening to Poetry: Poems
are read aloud. Poets read their work slowly, use
expression, and follow the punctuation (Heard,
Listening Center, pg. 11).
Responding to Poetry: We can make meaning from
poetry in many ways. We can respond by drawing
a picture of a vivid image; bring a poem to life by
performing it; or highlight its rhythm by putting it
to music (Heard. Illustration Center, Performance
Center and Music Center, pg. 13).
Gathering/Generating and Drafting Poems:
Possible Teaching Points Using Approach One: “Doors
of Poetry.” We open many doors as we write poetry.




The Heart Door: Poets write from the heart (Heard,
p. 52; p. 108 -116).
The Observation Door: Poets write about world
around them (Heard, p. 53; p.93 – 108).
The Wonder Door: Poets write about the questions
they have about the world around them (Heard,
p.55).
The Memory Door: Poets write from their
Resources / Mentor Texts
Resources: Books:
 Poetry: Powerful Thoughts in
Tiny Packages by Lucy
Calkins

Awakening the Heart by
Georgia Heard
Resources: Poems:
See p. 121 – 122 and 135-136
in Awakening the Heart for
suggested mentor poems for
lessons.
Resources: Reading Poetry:
Throughout the unit, teacher
and students will read lots of
poems together. See Heard,
Chapter 2 , “Reading Poetry”
for various poetry-reading
strategies.
Resources: Immersion:
Immersion lessons can follow
the same format as writing
workshop (Mini-lesson;
workshop time; share) as
outlined on Heard, pg. 7.
During immersion workshop
time, children can try out the
strategy demonstrated in that
day’s mini-lessons (and/or
choose from past mini-lesson
strategies), or can work at
“Poetry Study Centers”
(Heard, Chapter 1).
Resources: Mentor Text
Approach to Drafting Poems:
In this approach, teacher and
students read a certain type of
free-verse poem, and notice
how it is written. Then they
draft a poem in a similar style.

consistently use one
method of punctuation
and capitalization within
a poem.
Organize poems in a
meaningful sequence
within the anthology.


memories and experiences (Heard, p. 56).
Concerns about the World Door: Poets write about
the events going on in the world (Heard, p. 53).
Infinite Poetry Doors: There are “infinite poetry
doors” to explore (Heard, p.56). Teachers can
brainstorm other poetry doors to teach.
Possible Teaching Points Using the Alternate “Mentor
Text” Approach. We can write many different types of
poems.





Metaphor/Simile Poems: Poets look at ordinary
things in new ways. Choose an everyday item and
think, “What has a similar look? Shape? Color?
Feel? What does it remind me of?” Then we pick
the best simile to include in our poem – one that
makes us think, “Wow! I never thought about it
that way before!”
Persona Poems: Sometimes poets put on the ‘mask’
of another person or object as they write a poem.
Question Poems: Poets are full of wondering. They
write poems that ask questions about the world
around them.
Narrative Poems: Sometimes poems tell the story of
one important memory or moment in our lives.
Apology / Humor Poems: Sometimes poets use
humor. One way to write a funny poem is to
apologize for something silly that you are not really
sorry for (Koch).
Infinite Types of Poems: Like Heard’s poetry doors,
there are infinite “types” or styles of free-verse
poetry teachers might consider using for
instruction.
Possible mentor poems to use
with this approach:
Metaphor/Simile Poems:
 “The Turtle” by Alberto
Blanco in The Tree is Older
Than You Are.

“Night in the Kitchen” by
Homero Aridjis in The Tree
is Older Than You Are.

“Spill” by Judith Thurman
in Knock at a Star.
Persona Poem: “I Am a Peach
Tree” by Pancho Ernantes in
The Tree is Older Than You Are.
Question Poems:
 “Natalia’s Questions” by
Myriam Moscona in The
Tree is Older Than You Are.

“Commas” by Douglas
Florian in Knock at a Star.
Narrative Poems:
 “Losing Face” in Knock at
a Star.

“The Hurt Doe” in Knock
at a Star.
Revision: When poets revise, they think about the images,
word choice, lines, stanzas and word-music in each poem.

“Good Hot Dogs” in
Knock at a Star.
Possible Teaching Points - Meaning Tool Box:
Humor/Apology Poems: “This
is Just to Say” in Knock at a
Star.



Images: Poets write with meaning by including
strong images in their poems. One way to do this is
to use the “six-room image-poem” strategy (Heard,
p. 69).
Metaphors and Similes:
 Poets ‘re-see’ objects in a new way by
comparing them to something else (Heard, p.
75).
 Sometimes poets use more than one metaphor
and simile in their poem (Heard, “Spinning
Metaphors/Similes,” p.79).
 Sometimes poets compare something to
another in more than one way throughout their
poem (Heard, “Extending Metaphors,” p.80).
Word Choice: “Words are a poet’s paint” (p. 82).
 Poets use specific words to create images in the
reader’s mind. We can reread our poems and
think, “Is there a more precise name I can use
for this person, place or thing?”
Resources: Revision:
Teachers and students can
create two poetry craft
toolboxes that are helpful in
poetry revision.
The meaning toolbox contains
“visual tools that serve to help
the readers imagine,
visualize…bring us closer to
the experience” (Heard, p.64).
The music toolbox contains
tools that “help the reader
experience through sound,
music and rhythm” (Heard, p.
64).





One way poets write with vivid action words is
to use personification – using actions words
that usually only describe human actions
(Heard, p. 82).
Poets try to use describing words in a way that
is fresh and new. We call these striking
adjectives (Wood-Ray).
Lines: Poets make purposeful choices about their
line breaks for a variety of reasons. Let me show
you some / let’s discover some: According to
natural pauses/breaths; emphasis; change pace of
poem; or to create tension (Heard, p. 84).
Stanzas: Poets organize their ideas in poetry
paragraphs called stanzas. Poets begin new stanzas
for the same reasons writers start new paragraphs.
Let’s review those reasons now.
Titles: Poets use the titles in clever ways: to give the
poem a double meaning; to act as first line; or to
surprise the reader (Heard, p. 86).
Possible Teaching Points - Music Toolbox:


Poets use repetition in many ways: through rhythm,
alliteration or consonance (Heard, p. 89)
Onomatopoeia: Sometimes poets choose words that
make their poem sound like the topic they are
writing about.
Editing: Poets make purposeful choices about capitalization
and punctuation. Possible Teaching Points:


Capitalization: Poets make purposeful choices
about capitalization: Some poets use capital letters
to show the beginnings of sentences. Some poets do
not use capitalization at all, while others capitalize
the first word of every line. We can try out different
types of capitalization and think, “Which
capitalization style do I like the best? Why?”
Punctuation: Poets make purposeful choices about
punctuation (some poets use punctuation and
others do not). When poets do use punctuation,
they punctuate by sentences.
Publishing: Poets publish their work to share it with others.
Children can publish the final drafts of their poems in
an individual or class anthology. Possible Teaching
Points:
 Poets think carefully about the layout of their
anthology. They do this by considering the order of
their poems, what font / style to use, and where to
place the poem on the page.
 Celebration: When poetry anthologies are
published, poets usually read their poems aloud to
an audience (for example, at a book store).
 Reflection: Poets take the time to reflect on what
they have learned about writing poetry, and set
goals for their next anthology.
Writing in the Content Area
Unit 7: 4 Weeks
May/June
(Writing may bee connected to Social Studies and taught earlier in the year)
Understandings
Teaching Points (Possible path
through the unit)
Mentor Texts/ Resources
Goals:
 To use non-fiction texts
to research a topic
 To formulate a thesis
 To collect information in
support of a thesis
Reflection on Last Unit:
 Making comparisons in poetry
 Taking time to reflect on thoughts
that you have about a topic
 Also, think back to Personal
Essays
Skills:
 Learn how to conduct
research
 Learn how to organize
information
 Learn how to formulate a
thesis or big idea
 Learn how to find
information to support a
thesis
This writing unit may be taught within
the content areas.
Mentor Texts:
(Below are some suggested
texts, but use texts from the
content area that you chose.)
 National Geographic
 Time for Kids
 Plant and Animal unit
books
 Expository nonfiction
texts on Native
Americans
 Sharks
 Boys Field Guide and
How To Book
 Shark X-Zone book and
supplemental reading
materials on sharks.
Grammar Skills:
 Review any grammar
skills that need
reinforcement (Consult
Progression of Grammar
Skills Chart)
Immersion:


Teachers can choose nonfiction texts
from other content areas (This unit
will teach students how to integrate
their writing skills with other content
areas, e.g. focus on Lenni Lenape)
Introduce the unit. From second
grade, you know how to write how
to and all about books. We have
been studying nonfiction text and
noticing features nonfiction authors
use in their writing.
Gathering/Generating:
 Questioning to push your thinking
deeper, what do others need to know
to become a specialist about your
topic? (Partnerships work well to help
students push their thinking.)
 Generate questions you have about
your topic
 Begin gathering information on your
topic through research
 After some research on a topic, begin
to think about a possible thesis, or big
idea
Planning/Drafting:
 Planning for writing: Main Idea and
supporting details on your topic. Use
color-coded cards to organize the
information you have gathered: Main
idea, supporting details #1, #2, #3,
and closing to organize your
information
 Begin drafting introduction,
supporting details and closing
Possible Conferences:
(Conferences should be based
on what you are seeing in your
students’ pieces.)
 Main idea with
supporting details
 Angling writing
 Paragraphing
 Working with
independence
Assessment:
 NJ Holistic Scoring
Rubric and TeacherCreated Rubrics













Focus on incorporating nonfiction
conventions
Fact vs. opinion: How can they both
be used in this piece?
Angling the facts to support your
thesis
Jargon
Do you have enough information? vs.
Too much information?
Using “I notice”, “I see,” “This
reminds me of” to make details
stronger and stretch your thinking
Did you include enough details?
Did you answer all of your questions?
Do you have new questions?
Planning for charts, graphs, and time
lines to keep track of data
How to proceed with independence
How partners will help you
How mentor texts will help you
Partnerships:
 Pushing yourself to think deeper
about your specialty
 Fact and opinion
 New questions
 Explaining the big ideas you are
developing
Revision:
 Revise thesis to make it stronger
 Make sure supporting information is
not repetitive.
 Reorganize the order of the
information to best support the thesis.
 Revise conclusion - State thesis in a
new way.
Editing:
Create an editing checklist that addresses
the skills that have been worked on by the
class. The checklist should hold students
accountable for the skills that have
already been taught.
Publish/Celebrate:
Using the collected information, students
will create an Investigation Poster
displaying their information and possibly
pictures, charts, or other supporting
materials.
Differentiated Word Study Instruction:
Rationale: Word study instruction will provide a systematic scope and sequence of word-level skills with
multiple opportunities for hands-on practice and application at the instructional level of the student.
During word study, words are sorted in routines that require children to examine, discriminate, and make critical
judgments about speech sounds, word structures, spelling patterns and meanings.
Teacher Resources:
Words Their Way by Bear, Invernizzi, Templeton, and Johnston
Pre-Assessment: To determine students’ instructional levels and create word study groups
Words Their Way spelling assessment
Assessment: Weekly writing sorts
Suggested Progression of Grammar Skills
Skill
Letter Formation
Space Between Words
Capitalization (names, I)
Capitalization (places, sentences, dates)
Capitalization (proper nouns, titles)
Complete Sentences
Ending Punctuation
K
1
2
I
I
M
M
M
I
I
I
I
M
M
M
M
M
I
I
M
Capitalization (places, streets, months, etc)
Verb Tense (Regular) past-ed; present-ing
Verb Tense (some irregular)
bring/brought, teach/taught, write/wrote, am/was, catch/ caught
Verb Tense and Forms
(Master 5-10)
drink, drank, drunk/throw,threw/go,went/swim,swam,swum
Irregular Verbs
(lie/lay, set/sit/ hang/hung)
Irregular Verbs (any new ones)
Nouns as parts of speech
Verbs as parts of speech
Commas in lists
3
4
5
M
M
M
M
M
I
I
M
M
I
M
Adjectives
Adverbs
Punctuation Dialogue
Pronoun Substitution (w/o overuse)
Contractions (not, will, is, would)
Paragraphing (Introduce single paragraph in 2nd grade and multiple
paragraphs in 3rd +
Possessives (singular)
Possessives (plural)
Compound Sentences
(and, but, or, nor, yet, for so)
Complex Sentences
Subject/Verb Agreement
Prepositional Phrases
Interjections
Use of good-well
Use of much-many
Parts of Speech
I
I
I
I
D
M
M
I
M
I
M
D
M
M
I
D
D
I,
D
D
D
M
I
M
M
M
M
D
Direct Object
Pronoun Agreement
(Object-Subject)
I =Introduced
D=Developing
M=Mastered
D
D