Youngstown City Schools Curriculum Project
ENGLISH / LANGUAGE ARTS - - Grade 8
Unit #3: STRANGE AND MYSTERIOUS (4 weeks) 2013-2014
SYNOPSIS: Students will delve into events that go outside the ordinary or explainable. Through literature, students will experience
the strange, the scary, the suspenseful, and the macabre side of fiction. They will read works that have withstood the test of time from
masters such as Edgar Allan Poe. Non-fiction articles will reveal examples of the unexplained or bizarre events reported in today’s
news. Students will analyze how the author develops the theme or central idea - - often using dialogue and character. They will
examine the vocabulary of texts, with a particular focus on figurative language and connotation. Students will strengthen their
writing skills, including how to plan, write, and edit their work, how to write narratives, and firm up their grammar, punctuation, and
spelling skills. By the end of the Unit, students will analyze an unfamiliar piece of fiction and write a short story (narrative) which
reflects the theme of strange and mysterious based on the reading, discussions and note-taking from this unit.
NOTE: This Unit contains the Narrative Paper.
STANDARDS
RL 8.2 Determine a theme or central idea of a text and analyze its development over the course of the text, including its relationship to the
characters, setting, and the plot; provide an objective summary of the text.
RL 8.3 Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of character, or provoke a
decision.
RL 8.4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the
impact of specific word choices on meaning and tone, including analogies or allusions to other texts.
RL 8.6 Analyze how differences in the points of view of the characters and the audience or reader (e.g., created through the use of dramatic
irony) create such effects as suspense or humor.
W 8.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and wellstructured event sequences.
a. Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize
an event sequence that unfolds naturally and logically.
b. Use narrative techniques, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.
c. Use a variety of transition words, phrases, and clauses to convey sequence, signal shifts from one time frame or setting to
another, and show the relationships among experiences and events.
d. Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences
and events.
e. Provide a conclusion that follows from and reflects on the narrated experiences or events.
W 8.4
Produce clean and coherent writing in which the development, organization, and style are appropriate to task, purpose and audience.
W 8.5
With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing,
rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed.
SL 8.2 Analyze the purpose of information presented in diverse media and formats (e.g., visually, quantitatively, orally) and evaluate the
motives (e.g., social, commercial, political) behind its presentation.
L 8.2
Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.
a. Use punctuation (comma, ellipsis, dash) to indicate a pause or break.
b. Use an ellipsis to indicate an omission.
c. Spell correctly.
L 8.3
Use knowledge of language and its conventions when writing, speaking, reading, or listening.
a. Use verbs in the active and passive voice and in the conditional and subjunctive mood to achieve particular effects (e.g.,
emphasizing the actor or the action; expressing uncertainty or describing a state contrary to fact).
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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L 8.5
Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
a. Interpret figures of speech (e.g., verbal irony, puns) in context.
b. Use the relationship between particular words to better understand each of the words.
c. Distinguish among the connotations (associations) of words with similar denotations (definitions) (e.g., bullheaded, willful, firm,
persistent, resolute).
L 8.6
Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge
when considering a word or phrase important to comprehension or expression.
Materials
FICTION
DRAMA
Grade 8 Text: “Tales of the Strange
and Mysterious” (text, pp169-259)
“The Monkey’s Paw,”
W.W. Jacobs (text,
pp. 196-199)
POETRY
“The Listener,”
(text, p 180)
VIDEO
NON-FICTION
“The Landlady”
“The Monkey’s
Paw” on You Tube
“The Tell Tale Heart,” Edgar Allan
Poe (text, pp. 201-208)
Newspaper/magazine
articles
Video of Edgar Allan
Poe
“The Landlady,” Roald Dahl (text, pp.
170-183)
Key Terms
General Vocabulary
macabre
suspense
ordinary
extraordinary
bed-and-breakfast
Literary Skills
explicit details
inferences
theme or central idea
character points of view
dialogue
narrator point of view
dramatic irony
connotation
denotation
independent reading
context
analyze
figurative language
ellipsis
Writing Skills
narrative
introduction
context
description
pacing
development
transitions
organization
style
task
audience
purpose
journaling
conventions of standard English
grade-appropriate vocabulary
MOTIVATION
Speaking /Listening and
Language Skills
collaborative discussions
listening skills
read-aloud
purpose of information in
diverse media
public speaking
conventions of standard English
grade-appropriate vocabulary
TEACHER NOTES
1. Teacher asks students to write a response to What is the scariest thing that has ever happened to
you? in their journals; students share journals, and provide each other feedback.
2. Teacher shares with the class some strange and scary urban legends. Teacher brainstorms and
discusses with students a list of elements/words that make something mysterious or suspenseful,
recording them on a wall chart as it goes along; students are invited to add their own as well.
3. Teacher circles key vocabulary words from this list, and adds others to be featured during the Unit.
These vocabulary words and attributes of “strange and mysterious” should remain hanging throughout
the Unit. Students record in Journals / Notebooks. (L. 8.3 and L 8.6)
[ cont’d ]
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MOTIVATION, cont’d
TEACHER NOTES
4. Teacher helps students set goals for the Unit (1 personal and 1 academic); Ss record in Notebooks /
Journals.
5. Teacher previews “authentic assessments” as expectations for the Unit (i.e., explains what students
will be expected to accomplish by the end of the Unit). Teacher reminds students about
Independent Reading requirement; see Unit #1.
TEACHING-LEARNING ACTIVITIES
TEACHER NOTES
1. Teacher asks students to recall Roald Dahl’s books, James and the Giant Peach and Charlie and the
Chocolate Factory, highlighting the themes of strange, mysterious, and unfamiliar. Teacher
introduces “The Landlady” by providing an activity focused on foreshadowing. Teacher asks students
if they can define the term, foreshadowing. Teacher asks students to record the definition of the term
and examples used in class in their Journals. Other elements of a mystery story (e.g., suspense,
anticipation, red herrings, etc.) are also discussed and recorded. A “detective” activity for “The
Landlady” is Attachment #1; may move to Activity #7.
2. Teacher asks students what they know about beds-and-breakfasts. Students describe the type of
house and what they think they would find inside.
3. Teacher lists a few key vocabulary from the story on the board to guide students’ reading. (RL 8.4)
(L 8.5)
4. Teacher begins the story aloud, then students read the remainder - - some aloud as volunteers, some
choral, some in 2s, and some silently. Teacher mixes approach, checking for understanding as it
goes along. Teacher discusses what happened to the character, Billy Weaver. Students answer
questions about the plot development, including taxidermy. Teacher directs students to write a
summary of the work. If needed, students may refer to Attachment #2 for a sample summary and
guidelines. (RL 8.2 and RL 8.3)
5. After the reading is complete, students work in dyads to complete the Directed Reading Guide - Attachment #3. Teacher continually refers students to wall chart listing attributes of mystery. (RL
8.4) (L 8.5)
6. During de-brief on the Directed Reading Guide, teacher reminds students about figurative language
and connotations. Teacher may Google “figurative language” for more examples. OPTION: May
use attached worksheet; see Attachment #4.
OPTIONAL ( if time permits)
7. Teacher distributes taxidermy handout (Attachment #5); students s read in 3s, taking notes about
the “hobby.” Teacher leads students in a discussion about why information is presented in diverse
media formats (visually, orally, quantitatively), and how to evaluate the presenters’ motives (e.g.,
social, commercial, political) behind the presentation. One example may focus on the animal-rights
lobby re: taxidermy. Ss take notes. (SL 8.2)
OPTIONAL ( if time permits)
8. Students write a journal response to (e.g., ) “The most suspenseful movie I’ve seen is . . . .” or “If I
had the power to grant three wishes, I would . . . .” These responses will be shared in class. (W 8.4)
9. Teacher reminds students about point of view (1st, 3rd, etc.) - - quizzing them to be sure they can
distinguish among them and determine the impact; teacher asks students who has heard of irony ?
Dramatic irony, in particular. (RL 8.6) After the examples, teacher asks students for additional
examples.
[ cont’d ]
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TEACHING-LEARNING ACTIVITIES, cont’d
TEACHER NOTES
[ 9. cont’d ]
* dramatic irony = actor thinks one thing, audience knows another ( e.g., character thinks he’s
been arrested for picking up a hitchhiker, he’s actually been arrested for murder; his comment,
“I’ve done it several times,” draws a laugh. Othello thinks Desdemona has been unfaithful, but
Iago has deceived him. In North by Northwest, the audience knows Cary Grant is not Thornhill,
but James Mason and Eva Marie Saint think he is - - so the chase provides excitement. )
10. Teacher leads the students through a preview of “The Monkey’s Paw” (text, pp.186-189) examining
key words, and phrases, and pictures in the text. Teachdr asks students to make predictions about
the story based on this brief overview.
11. Teacher reminds students about how authors often use connotative and figurative language to enrich
their style, create a meaningful tone, and thus enhance reader satisfaction with the work. See
Attachment #4. (RL 8.4)
12. Students begin “The Monkey’s Paw,” volunteering to read as one of the characters. Teacher stops
the reading at key intervals to ask students questions and check for understanding; students rotate
among characters and continue the reading. (RL 8.6)
13. Teacher discusses irony in “The Monkey’s Paw,” and students cite examples of irony and how the
author uses it to build suspense in the story. Teacher adds to the wall charts words used to create
mystery and suspense. Again, teacher refers students to wall chart of “mystery” attributes. (RL 8.4; L
8.5 and L 8.6)
14. Teacher shows video about the personal life of Edgar Allan Poe. Students take notes using bullet
points to identify how the events of his life led to the darkness in his writing - - how his life contributed
to his strange and mysterious writing. Students discuss how film presents such information differently
than print. (SL 8.2)
Teacher asks students to name things that scare students. Teacher records students responses on
the board. Following the discussion, students are asked to identify the top 10 items. The teacher
helps students compare “scary” and “mysterious” as depicted in film vs print. (SL 8.2) Teacher adds
to the wall charts words used to create mystery and suspense. (RL 8.4; L 8.5 and L 8.6)
15. Teacher leads students to examine the cover and title of “The Tell Tale Heart” and asks students to
predict what the story is about.
16. Teacher leads discussion with students asking, What is the breaking point of what we can and cannot
accept? Students provide examples of their annoyances (e.g., snoring, cracking gum, staring a
person down, the dark, storms). Teacher adds to the wall charts words used to create mystery and
suspense. (RL 8.4; L 8.5 and L 8.6)
17. Teacher orally reads a teaser section of “The Tell Tale Heart” to the class, then involves students in
the reading. (i.e., teacher has divided the story into 700-900-word passages to expedite success;
some sections are read silently by individual students; some sections are read orally by students
working in dyads - - reading to each other; some sections are read aloud by student volunteers; and
some sections are read by the teacher). The teacher unfolds a wall-chart, on which has been written
the following “elements,” and T directs students to watch and listen for each. Students will record in
Journals/Notebooks: (RL 8.2; RL 8.3; RL 8.4; RL 8.6; L 8.5,and L 8.6)
a. characters
b. the narrator (and his tone or viewpoint)
b. setting details
c. major plot events
d. language and imagery
e. “suspense” words and phrases (dark, foreboding language)
[ cont’d ]
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TEACHING-LEARNING ACTIVITIES, cont’d
TEACHER NOTES
OPTION: some students may listen on an audiotape, following along with the class, and stopping at
the same intervals as the class to answer questions and record information. (RL 8.2; RL 8.3; RL 8.4;
RL 8.6; L 8.5,and L 8.6)
18. Teacher reviews the criteria for the Narrative, referring to the structure of the stories read in the Unit;
students work in triads to examine one of the 3 narratives read, and complete the Narrative Rubric
and guiding Checklist (Attachment #6). NOTE: for this activity, the triads use the space around
each of the first NINE criteria to record how their text addressed the criteria. This same Rubric can
be used to guide each student in writing his or her own narrative. (W 8.3; W 8.4; W 8.5; L 8.2; L 8.3;
L 8.5; L 8.6)
19. Students create a Pre-Write for their original Narrative. (W 8.3; W 8.4; W 8.5; L 8.2; L 8.3; L 8.5; L
8.6)
20. Teacher asks students to write a short story/narrative that focuses on the emotion on their word
webs. Students are also directed to use the vocabulary from word walls created earlier in the unit.
(W 8.3 and W 8.4 and W 8.5) (L 8.2 and L 8.3 and L 8.5)
TRADITIONAL ASSESSMENT
1. Unit Test ( consisting of multiple choice and 2- and 4-point essay items on Standards)
TEACHER NOTES
2. Quizzes
3. Journals / Notebook entries
4. Directed Reading Guides and Worksheets
AUTHENTIC ASSESSMENT
Each student will - -
TEACHER NOTES
1.
Complete the writing of a short story/narrative. (W 8.3; W 8.4; W 8.5; L 8.2; L 8.3; L 8.5; L 8.6)
2.
Analyze a passage from a NEW (not read during the Unit) FICTION dealing with the strange
and the mysterious; from that analysis, the student will - - [ on a response form provided ]
a. determine the theme or central idea of the text, and show how it is developed through
the piece (RL 8.2)
b. write an objective summary of the passage (RL 8.2)
c. analyze how lines of dialogue and/or story incidents propel the action, reveal
character, and/or provoke a decision. (RL 8.3)
d. analyze the author’s language, including figurative and connotative language, and the
impact of word choices on meaning and tone, including analogies or allusions to other
texts. (RL 8.4)
e. analyze how differences in points of view of the characters and the audience or reader
create such effects as suspense or humor. (RL 8.6)
3. Evaluate his and her personal and academic goals for the Unit.
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Authentic Assessment ELA Grade 8, Unit 3 “Strange and Mysterious”
1. Analyze the following passage from a NEW (not read during the Unit) FICTION text about depending on
someone else; from that analysis, respond to the questions that follow:
“The Wandering,” by David Sharp
Duncan tapped his pockets again before remembering once more that both his mobile and his
wallet had managed to lose themselves in the car. Funny how quickly he felt lost and
disconnected without those two simple items that he took so much for granted. He couldn't
even ring anyone for help, so the only option would be to walk back to the road and try and
flag someone down.
The night air was bitterly cold, and it felt as if he'd already been walking all night, although it
could only have been a couple hours. And his clothes were soaked through from his narrow
escape from the sinking car. Who would have thought an entire car could be swallowed up a
tiny little stream so quickly like that? And who on earth had built a road so close to such a
rapidly-flowing stream and not bothered to put up any sort of safety barriers? It was a
country road that Duncan had happily bombed along in the bright, balmy evenings of
summer, but now the clocks had gone back and the early fall of darkness had transformed the
winding lanes into a tricky maze of tight corners and looming hedgerows.
Duncan patted his pockets again. Why wasn't he getting any closer to the road? He couldn't
even see it yet. Surely he couldn't be walking in the wrong direction but then again, in the
overcast twilight all he had to go on was the outlines of bushes and clumps of grass caught in
the faint glow of the stars. He paused and tried to listen for the sound of passing traffic. There
was nothing. Not even the trickling of the stream anymore. He felt like he was in an episode
of The Twilight Zone. Or maybe he’d been reading too much Edgar Alan Poe.
Could he die out here? It seemed incredible in this modern age that a man could perish just
yards away from where his car had been and half an hour's drive from home. And yet he was
lost, very cold, hungry, and achingly tired. How long had he been walking? He went for his
phone to check the time and then remembered it wasn't there.
And then Duncan became aware of something. Somewhere out there in the endlessly dark
night, Melanie was out looking for him. She was calling his name, waving a small torch back
and forth, a hopelessly futile task. For her to find him with just that tiny light would be like
finding a particular pebble at the bottom of a mighty ocean. And yet her voice seemed to
carry on the still, winter air and, although barely a whisper by the time it reached him,
Duncan found it comforting. Her warm, familiar voice was like a tiny thread of hope in this
wretched situation. But what was she saying? Was she talking about their wedding day?
Some of the words were missing but Duncan filled them in himself, thinking back to that
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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happy April day. The smell of fresh strawberries and champagne, surrounded by the beaming,
proud faces of everyone he had ever known and loved. And at the center of it all had been
Authentic Assessment, p.2
Melanie -- after all those years, he ended up with her, and if he owned the whole world, he
couldn’t have been happier. He smiled just thinking about her in that dress again.
"Nurse," called Melanie, straightening upwards. "Nurse, he moved! I'm sure of it, his face
just twitched a little there. It was almost as if he were trying to smile."
The nurse on the night shift crossed the ward and checked the various readings on the
multiple machines wired into Mr. McDonald's head and body.
"This is good, right?" asked Melanie, still gripping her husband's hand. "I mean he could be
waking up?"
"It's still very early Mrs. McDonald, your husband still has a ways to go on his journey, yet,"
answered the nurse, trying to look positive. "But keep talking to him - - at least that way he
won't feel completely alone in there."
a. determine the theme or central idea of the text, and show how it is developed through the piece (RL 8.2)
___________________________________________________________________________________________________
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b. analyze how lines of dialogue and/or story incidents propel the action, reveal character, and/or provoke a
decision. (RL 8.3)
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Authentic Assessment, p.3
c. Analyze the author’s language, including figurative and connotative language. (RL 8.4)
Word or phrase
managed to lose themselves
Figurative? If so, explain.
Connotative? If so, explain.
took so much for granted
walking all night
swallowed up
rapidly-flowing
tricky maze of tight corners
overcast twilight
trickling
incredible
hopelessly futile
like a tiny thread of hope
smell
owned the whole world
multiple machines
d.Explain the impact of word choice on meaning and tone, including analogies or allusions to other texts.
(RL 8.4)
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YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Authentic Assessment, p.4
e. analyze how differences in points of view of the characters and the audience or reader create such
effects as suspense or humor. (RL 8.6)
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f.
write an objective summary of the passage (RL 8.2)
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YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Attachment #1
Detective Assignment for “The Landlady”
You and your team have been called in to investigate the disappearance of Billy Weaver. You and your
team must plan a dialogue that takes place between your detectives and the people needed to complete
the investigation - - including the Landlady. Be creative, but stay within the original theme and tone of
the story.
Character: ____________
____________________________________________________________
____________________________________________________________
____________________________________________________________
Character: ____________
____________________________________________________________
____________________________________________________________
____________________________________________________________
Character: ____________
____________________________________________________________
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____________________________________________________________
Character: ____________
____________________________________________________________
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Character: ____________
____________________________________________________________
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Character: ____________
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Attachment #2
SAMPLE GUIDELINES FOR PREPARING SUMMARIES
FICTION SUMMARIES
Pre-Write a simple outline
1. Genre (e.g., a short story, a folk tale, a poem, a novel, a TV show, a movie, a play, etc.)
2. Author
3. Context
a. environment (e.g., the woods, a theme park, the suburbs, a space station etc.)
b. geographic location (e.g., near X city, in the deep South, colonial Massachusetts)
c. timeframe, if specified (e.g., the 1700s, today, the future)
4. Characters / Narrator (e.g., involves 3 high school students; told by the main character’s best pal)
5. Major Plot Details (e.g., two or three key events including the ending)
Avoid ANY editorial remarks or comments - - include ONLY what’s written
SAMPLE
The Lion King is a Broadway play and an animated movie written by Irene Mecchi and others. It is set in the Pride
Lands of Africa. It is the story of a community of jungle animals ruled by lions. The father lion has a son who will
become king. But the father’s wicked brother decides to have the father killed and drive off the son so that he can
become king. The son goes into hiding, believing he killed his father. The wicked brother becomes king, and the
community begins to fall apart. But friends loyal to the father king and the son find the son and convince him to
return to the Pride Lands and take his rightful place as king. He does so, and the wicked brother is thrown out.
NON-FICTION SUMMARIES
Pre-Write a simple outline
1. Genre (e.g., an essay, a speech, a set of directions, a court transcript, a treaty, a biography, etc.)
2. Author(s)
3. Context or locale - - if important (e.g., delivered to the Ohio Historical Society)
4. Purpose (e.g., to convince, to entertain, to inform, to explain, etc.)
5. Thesis Idea(s) or Main Point(s)
6. Support or development of detail
Avoid ANY editorial remarks or comments - - include ONLY what’s written
SAMPLE
“The Gettysburg Address” is a famous speech given by President Abraham Lincoln just after the battle at
Gettysburg during the Civil War. The President was asked to make a few remarks to the crowd who had come to
the battlefield to remember those who died in the battle. The speech was to remind people that the country had
been set up as one nation and that everyone deserved to be free. But with the Civil War, there was the threat that
the country would split into North and South and that slavery would continue. Mr. Lincoln urged listeners to see
the horrific sacrifice of so many lives as a reminder that the country dare not forget its origins of one nation under
God.
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Attachment #3
Directed Reading Guide
Student: ____________________________ Teacher: ___________________ Date: ___________________
Selection: _______________________________ Author: _________________________ Pages: ________
A. Theme or Central Idea (RL 8.2)
_______________________________________________________________________________
_______________________________________________________________________________
B. Summary of text (RL 8.2)
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
Place a check by one of the two below
Lines of Dialogue
Key story incidents

e.g.,
“You shot the wrong man!”
Impact on story action, character, or a decision
(RL 8.3)
e.g., The woman with the gun threw it overboard.

e.g., The entire crew had
vanished from the ship
e.g., The leader of the passengers decided they should all
get in the lifeboats and try to row to shore.
C. Key Vocabulary or Phrases (RL 8.4)
Word or Phrase
Meaning as used
in the text
Original Sentences reflecting
student’s OWN understanding
Connotation ?
Figurative Language?
Connotation ?
Figurative Language?
Connotation ?
Figurative Language?
Connotation ?
Figurative Language?
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Attachment #4
Quick Review of CONNOTATION and FIGURATIVE LANGUAGE
CONNOTATION / DENOTATION
DENOTATION - - dictionary definition of a word; typically “neutral”
CONNOTATION - - a definite feeling or attitude that surrounds a word
May be POSITIVE; e.g., angel, commend, flawless, luxury, and personable
May be NEGATIVE; e.g., criminal, distasteful, horrific, terrorist, and vermin
PRACTICE ACTIVITY
[ cut into pieces; place in an envelope; ask Ss to “sort” ]
cheapskate
thin
forthright
thrifty
economical
considering
loyal
skinny
aggressive
discrete
equivocal
secretive
assertive
undecided
faithful
slender
renegade
sycophant
individualist
non-conformist
cautious
ANSWER KEY
- - and space for students to add three more ORIGINAL examples
Positive Connotation
slender
thrifty
assertive
discrete
considering
loyal
individualist
Neutral / Denotation
thin
economical
forthright
cautious
undecided
faithful
non-conformist
Negative Connotation
skinny
cheapskate
aggressive
secretive
equivocal
sycophant
renegade
[ cont’d ]
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Attachment #4, cont’d
FIGURATIVE LANGUAGE
Five examples are provided for each technique; once they understand each technique,
students should be capable of adding another five original examples.
IDIOMS
1. . . . make a mountain out of a molehill
2. . . . hit the nail on the head
3. . . . paint us all with the same brush
4. . . . good case of butterflies in the stomach
5. . . . her bark is worse than her bite.
SIMILES
1. Israel is like a cornered mountain lion.
2. The virus swept through the class as if each student were a magnet.
3. Our DNA is like a genetic zipper.
4. The water cycle is as regular as the turn of a Ferris wheel.
5. Finding the square root of a number is like finding twins; finding its cubed root is like finding triplets.
6. Equations are like extended bars on a balance beam, and the equal sign is like the
fulcrum in the middle.
7. Strangely, the noise and chatter in the cafeteria was like a symphony to my ears.
8. Joaquin’s mind was like a computer.
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Attachment #4, cont’d
METAPHORS
1. This candidate’s platform is to lower taxes, and every plank is an idea of how to do so.
2. The Civil War was a knife in the heart of the Union and President Lincoln.
3. A lunar eclipse is the earth being swallowed by the moon’s shadow.
4. Mitosis is each cell making a Xerox copy of itself.
5. A thermometer turned on its side becomes a number line.
6. A line is a dot that went for a walk.
7. The librarian becomes a beast if you mess up her books.
8. Trying to help you pass science is a mountain I’m not sure I can climb.
ONOMATOPOEIA
1. - - The plop of pebbles as they enter a fountain
2. - - The buzzing of a swarm of bees
3. - - A clash of cymbals
4. - - The shriek of a woman’s scream
5. - - A crackling fire
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Attachment #4, cont’d
PERSONIFICATION
1. The wind whistled a friendly little tune as it made its way down the mountain.
2. Suddenly, the volcano belched smoke and ash into the sky.
3. My cell phone must have grown legs and walked away.
4. During the most crucial play of the game, the football refused to be caught.
5. The giant roller coasters hold court over every amusement park.
OXYMORON
1. jumbo shrimp
2. a real phony
3. clearly confused
4. a civil war
5. dry wine
PUN
1. A bicycle can't stand on its own because it is two tired.
2. Incongruous: Where bills are passed.
3. I used to work in a blanket factory, but it folded.
4. Every calendar's days are numbered.
5. I wondered why the baseball kept getting bigger. Then it hit me.
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Attachment #5
How to Taxidermy Coyotes
By Louie Doverspike, eHow Contributor
Combining anatomy, sculpture and science, taxidermy is a complicated process with a variety of components.
Mounting and displaying dead animals takes a surprising amount of artistry. It is also a remarkably versatile
process. While most of you are used to seeing the hunting trophies made from large game mammals, taxidermy
preserves insects, reptiles, birds and amphibians. Preserving a coyote requires both general and specific tactics,
which are provided below.
Things You'll Need
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Freezer
Dead coyote
Carving knife
Utility knife
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Tanning Salt
Soak Tubs
Clay Wire
Marbles
Instructions
o
1
Freeze your coyote. This will preserve it, allowing for a more deliberative process. Freezing
also has the advantage of stiffening the body, allowing you to manipulate it easier.
o
2
Take detailed measurements. Your measurements will be the basis for the body on which you
will mount your specimen. Particularly important measurements include the circumference of
the legs, snout length, body circumference and total length. To capture the best possible
summation of the facial measurements take length readings from each ear to the end of the
snout, from which the head's width can be triangulated.
o
3
Skin the coyote. Start your first incision below the breastbone, leaving much of the coyote's
front underside unmarred. Continue to slit the skin down the pelvic bone. Go back to the top of
your cut and carve a full circle around the full circumference of the coyote's body. Cut fully
around the base of each foot, then carve a long line up the back of each leg, each one ending
at the initial slice down the belly's center. All the skin should be peeled away from the center in
both directions. Peel the front half of the coyote's fur up toward the face, then cut off with a fullcircumference incision immediately beneath the animal's head.
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Attachment #5, cont’d
o
4
Gently cut the animal's face off. Cutting the fur from the face is the most complicated
procedure. Typically called caping by expert taxidermists, cutting the face skin away should
avoid damage to the front face. Peel the skin back form the neck. Using a small utility blade,
cut away connective tissue holding the skin to the skull.
o
5
Tan the coyote hide. Tanning is best left to outside professionals since it involves noxious
chemicals. If not handled properly, the fur can be stained or burnt, making it useless for
taxidermy. If you insist on performing your own tanning, then begin with a saltwater bath.
Agitate the skin in brine for 16 hours, then soak in water for an additional day. Then the skin
should be soaked in increasingly tannin heavy baths, beginning with a very thin solution then
increasing the proportions every 4 hours.
o
6
Craft a body model from wire or clay using your measurements. This involves some artistry
and must be stable enough to support your skins. There is also an entire cottage industry of
pre-made models for supporting tanned skins. This is where you can choose a special pose for
your mounted coyote.
o
7
Stretch the skin over your model. This is where using wire for your model can be beneficial,
since you now have the option of making adjustments to the skeleton of your mounted coyote.
o
8
Insert marble eyes. Once again, an entire industry exists to supply realistic looking eyes, but
many amateurs use black marbles, which achieve a similar effect. Using glue to hold in the
eyes is not suggested, in case the skin dries and changes shape over time. Instead, affix eyes
in the socket with clay, which can also be molded around the marbles to make the eye look like
a more organic component of your mounted coyote.

Human body modelswww.gtsimulators.com
Anatomical Models On Sale. Free Shipping on Select Items.

Fur Tails, Fur Throwswww.furtail.com
Biggest variety same day shipping. Fox, Mink, Coyote, Lynx, Raccoon, Sable.
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Attachment #5, cont’d

Taxidermy Fleshing Toolwww.helpinghandhangers.com
Flesh capes with precision using tool designed by a taxidermist.

Natural Raw Dog Food Dietwww.DarwinsPet.com/RawFoodDiet
Organic veggies & free range meat. No grains, fillers or additives.
Tips & Warnings

A popular trend is to prop the animal in human-like poses that a coyote would never
naturally adopt.
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Wear gloves when handling the organs of dead animals. Use a respirator and safety
goggles while tanning your skin.
Related Searches:

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Taxidermy Mounts
Freeze Drying Taxidermy
Skin
Skin Peel
Skin Peels
Read more: How to Taxidermy Coyotes | eHow.com
http://www.ehow.com/how_5004552_taxidermy-coyotes.html#ixzz1zrYmKiCK
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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Attachment #6
Youngstown City Schools
Introduction
engaging; establishes context; point of view - - 1st, 2nd, 3rd person; characters; sets forth a natural and
logical event sequence (W 8.3)
Plot Detail
that is logical and easy to follow (events are relevant and authentic)
 usually chronological
 may involve flashback or foreshadowing
Narrative Techniques
to develop experiences, events, and characters; e.g., (W 8.3)
 dialogue
 description
Characters
are believable, 3-dimensional, have flaws and virtues, change along the way (e.g., lessons learned,
growth or decline, relationships, etc.)
Settings
are effective, multiple as needed; “when” and “where” are appropriate
Transitions
words, phrases, and clauses to convey sequence and signal shifts from one time-frame or setting to
another (W 8.3)
Language
 precise, mature words and phrases (W 8.3) (L 8.6)
 relevant descriptive detail and sensory language (W 8.3) (L 8.5) (L 8.6)
 connotative language (L 8.5)
 figurative language (L 8.5)
Conclusion
follows from and reflects on the narrated experiences or events (W 8.3)
Response Appropriate to (W 8.5)
 task
 purpose
 audience
Conventions
capitalization (L 8.2)
punctuation
 commas, ellipsis, dash to indicate pause or break (L 8.2 a)
 ellipsis to indicate an omission (L 8.2 b)
spelling (L 8.2)
verbs in active and passive voice (L 8.3 a)
YCS Grade 8 English / Language Arts: Unit 3 - - Strange and Mysterious 2013-2014
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strong
partial
Narrative Elements
weak
editing
missing
Included In
Pre-Write
Rubric for Early NARRATIVE - - Grade 8
verbs in the conditional (if …., then ….) and subjunctive (if X were. . . .) (L 8.3 a)
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