Unit 1 Outsiders/Personal Narrative: Mrs. Murray, Dr. Caresio, Mrs. Dorsel, Mrs. Wood
Genre/What are students MAKING? While reading the novel, The Outsiders by S. E. Hinton, students write narratives to
develop real or imagined experiences or events using effective technique, relevant
descriptive details, and well-structured event sequences.
Standards
By the end of the year, read and comprehend literature, including stories, dramas, and
poems, in the grades 6–8 text complexity band proficiently, with scaffolding as needed
at the high end of the range.
I can use reading strategies (e.g., ask questions, make connections, take notes, make
inferences, visualize, re-read) to help me understand difficult complex text.
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, and description, to develop
experiences, events, and/or characters.
c. Use a variety of transition words, phrases, and clauses to convey sequence and
signal shifts from one time frame or setting to another.
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 and reflects on the narrated experiences or events.
 I can define narrative and describe the basic parts of plot (exposition, rising action,
climax, falling action, and resolution).
 I can engage and orient the reader by introducing the narrator (first, second, or third
person point of view), characters, setting (set the scene), and the event that starts the
story in motion.
 I can use narrative techniques (dialogue, pacing, and description) to develop a
storyline where one event logically leads to another.
 I can use descriptive words and phrases that appeal to the senses, capture the
action, and help my reader understand the experiences and events (create mind
pictures).
 I can signal changes in time and place by using transition words, phrases, and
clauses.
 I can write a logical conclusion that reflects on the experiences/events and provides a
sense of closure (ties up all the loose ends and leaves the reader satisfied).
Draw evidence from literary or informational texts to support analysis, reflection, and
research.
a. Apply grade 7 Reading standards to literature (e.g., “Compare and contrast a
fictional portrayal of a time, place, or character and a historical account of the same
period as a means of understanding how authors of fiction use or alter history”).
I can compose written responses and include textual evidence to strengthen my
analysis, reflection, and/or research.
Demonstrate command of the conventions of standard English capitalization,
punctuation, and spelling when writing.
a. Use a comma to separate coordinate adjectives (e.g., It was a fascinating, enjoyable
movie but not He wore an old[,] green shirt).
b. Spell correctly.

I can determine when to capitalize words (e.g., proper nouns, “I”, first word in a
sentence).
 I can define coordinate adjectives (two or more adjectives that equally modify a
noun) and noncoordinate adjectives (two or more adjectives that do not equally
modify a noun).
 I can determine when adjectives are coordinate and need to be separated by
commas (e.g., The white, powdery snow settled in my shoes.).
I can determine when adjectives are noncoordinate and do not need to be separated by
commas (e.g., The big bread box was full of moldy wheat bread.).
Unit Summary
The learner will navigate through the writing process while creating a personal narrative about
an internal or external scar they have acquired in their own personal experience. Students will
be writing Tuesdays and Thursdays and reading the novel ”The Outsiders” on
Mondays/Wednesdays/and Fridays. Students will use S.E. Hinton’s writing as a primary
resource for creating his/her narrative.
 Brainstorming--Students will begin by brainstorming a list of scars. Students will
develop details using story webs to describe the scar and the events surrounding that
experience using sensory details. Students will read the description from chapter 2 of
The Outsiders when Ponyboy describes to Cherry how Johnny got the scar on his cheek.
Students will select a scar and begin developing ideas surrounding the experience.
Students will map out the details of the event by using a plot line summary as a graphic
organizer. Students will be exposed to mentor texts to assist in developing their writing.
Finally, students will use their plot line summary to create an outline together plugging in
the various parts of their narrative while adding details using mentor texts as a guide.
 Drafting—Students will begin creating their rough draft using a variety of mentor texts to
model transitions, dialogue, sensory details, character and setting development, etc. Each
part of their narrative should be evident from their graphic organizer—exposition, rising
action, climax, falling action, and resolution.
 Proofreading/Revising/Editing—Students will begin the proofreading/revising/editing
process by brainstorming a list of strategies for identifying corrections in not only their
peer’s writing but their own writing as well. Emphasis will be placed on the CUPS
strategy (Capitalization, Usage, Punctuation, Strategy).
 Publishing—Students will create a rough draft on our district MacBook including all of
the revisions made during the proofreading/revising/editing process.
 Presentation and Evaluation—Students will silently present their writing in a Gallery
Walk and evaluate the writing of their peers.
Long Term Targets
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I can define textual evidence (a “word for word” support format).
I can define inference and explain how a reader uses textual evidence to reach a logical conclusion
(“based on what I’ve read, it’s most likely true that…”).
I can analyze plot (the events that happen) to determine a theme (author’s overall message).
I can explain how the elements of a story or drama interact and affect one another (e.g., Because the
story is set during a time of war, the characters may be called to fight.).
I can analyze how an author develops the points of view of characters and narrators by revealing
thoughts, feelings, actions, and spoken words.
I can compare (analyze the similarities) and contrast (analyze the differences) mental images I
created while reading and the images presented in a media or staged version of the same text.
I can use reading strategies (e.g., ask questions, make connections, take notes, make inferences,
visualize, re-read) to help me understand difficult complex text.
I can read closely and find answers explicitly in text (right there answers) and answers that require an
inference.
I can reread a text to add to my understanding.
I can analyze a text and determine how the author’s use of details conveys the central theme.
I can define narrative and describe the basic parts of plot (exposition, rising action, climax, falling
action, and resolution).
I can engage and orient the reader by introducing the narrator (first, second, or third person point of
view), characters, setting (set the scene), and the event that starts the story in motion.
I can use narrative techniques (dialogue, pacing, and description) to develop a storyline where one
event logically leads to another.
I can use descriptive words and phrases that appeal to the senses, capture the action, and help my
reader understand the experiences and events (create mind pictures).
I can signal changes in time and place by using transition words, phrases, and clauses.
I can write a logical conclusion that reflects on the experiences/events and provides a sense of
closure (ties up all the loose ends and leaves the reader satisfied).
I can compose written responses and include textual evidence that supports my analysis, reflection,
and/or research.
I can determine when to capitalize words (e.g., proper nouns, “I”, first word in a sentence).
I can define coordinate adjectives (two or more adjectives that equally modify a noun) and noncoordinate adjectives (two or more adjectives that do not equally modify a noun).
I can determine when adjectives are coordinate and need to be separated by commas (e.g., The
white, powdery snow settled in my shoes.).
I can determine when adjectives are non-coordinate and do not need to be separated by commas
(e.g., The big bread box was full of moldy wheat bread.).
Essential Questions
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Teacher Goals/Shifts
Sentence study of dialogue
Word choice
Use of transitions
Show don’t tell
Function
Craft
Writing process
Dates
How will annotating text help me to become a better reader?
What are the benefits to reading and reading texts with specific purposes in mind?
How can I use information that I have gathered to be successful in collaboration with peers?
Teaching Points
Weekly/Daily Learning Targets
Reading Teaching Points 1
Quarter 1
Targeted Standards: RL.7.1,
RL.7.2
Supporting Standards: RL.7.10,
SL.7.1 (a)
Understanding Close Reading
Readers read closely for details
through an examination of a range of
text types
RL.7.1
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I can define textual evidence.

I can define inference and explain
how a reader uses textual evidence
to reach a logical conclusion (“based
on what I’ve read, it’s most likely true
Mentor Texts/Additional
Resources
Formative Assessment
Options
Example of personal narrative emphasizes
transitions
http://thewritesource.com/studentmodels/ws2kgvnglife.htm
Personal Narrative
Internal/External Conflict
https://wikis.engrade.com/conflictsinliterature
Create a Mandala with an
accompanying essay
(AVID Strategy)
that…”).
RL.7.2

I can analyze plot (the events that
happen) to determine a theme
(author’s overall message).
SL.7.1.a
I can create questions and locate key
textual evidence to contribute to a
discussion on the given topic, text, or
issue.
Reading Teaching Point 2
Targeted Standards: RL.7.10,
RI.7.1
Supporting Standards:
SL.7.1 (b,c,d), L.7.4
Developing Purpose and
Annotating Text
Readers question the text to help
them focus on important textual
ideas and characteristics
RL.7.10
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I can use reading strategies (e.g.,
ask questions, make connections,
take notes, make inferences,
visualize, re-read) to help me
understand difficult complex text.
RI.7.1
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I can read closely and find answers
explicitly in text (right there answers)
and answers that require an
inference.

I can reread a text to add to my
understanding.
SL.7.1 (b,c,d)
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I can come prepared with key points
and textual evidence to contribute to
a discussion.
I can participate in a discussion by
posing questions, responding to
questions, and elaborating on my own
ideas.
Reading Teaching Point 3
Targeted Standards: RL.7.3,
RL.7.6, RI.7.2
Supporting Standards: RL.7.4,
RL.7.5, RL.7.10, SL.7.2, SL.7.3
Analyzing Textual Details
Readers analyze textual details for
making comparisons across texts
RL.7.3
 I can explain how the elements of a
story or drama interact and affect
one another (e.g., Because the story
is set during a time of war, the
characters may be called to fight.).
RL.7.6
 I can analyze how an author
develops the points of view of
characters and narrators by
revealing thoughts, feelings, actions,
and spoken words.
RI.7.2
 I can analyze a text and determine
how the author’s use of details
conveys the central theme.
SL.7.2
 I can identify the main idea and
supporting details presented in a
variety of media and formats.
SL.7.3
 I can determine the credibility of a
speaker (or narrator) and his/her
purpose.
Reading Teaching Point 4
Targeted Standards: RL.7.7
Supporting Standards: RL.7.10,
RI.7.10
Explaining, Understanding, and
Discussing Ideas

Readers write text-based
explanations
Readers participate in text-centered
discussions
RL.7.7
I can compare and contrast mental
images I created while reading and the
images presented in a media or staged
version of the same text.
Writing Teaching Points 1
Targeted Standards: W.7.3 (a),
L.7.2
Supporting Standards: RL.7.5,
W.7.4, W.7.10, SL.7.6, L.7.1, L.7.3
Understanding Reading Like a
Writer, Writing Like a Reader

Writers read like writers, study
author’s craft moves, emulate the
moves of other writers, and write
(and punctuate) with intention
W.7.3 (a)
 I can define narrative and describe
the basic parts of plot (exposition,
rising action, climax, falling action,
and resolution).
 I can engage and orient the reader
by introducing the narrator (first,
second, or third person point of
view), characters, setting (set the
scene), and the event that starts the
story in motion.
L.7.2
 I can determine when to capitalize
words.
 I can define coordinate adjectives
(two or more adjectives that equally
modify a noun) and noncoordinate
adjectives (two or more adjectives
that do not equally modify a noun).
 I can determine when adjectives are
coordinate and need to be separated
by commas (e.g., The white,
powdery snow settled in my shoes.).
 I can determine when adjectives are
noncoordinate and do not need to be
separated by commas (e.g., The big
bread box was full of moldy wheat
bread.)
SL.7.6
I can identify various reasons for
speaking (e.g., informational, descriptive,
formal, informal).
Writing Teaching Points 2
Targeted Standards: W.7.3 (b)
Supporting Standards: W.7.4, W.7.6,
W.7.10, L.7.1, L.7.3
Developing and Engaging in the
Writing Process
Writers engage in class feedback
conferences, write multiple drafts,
participate in writing groups, and
analyze the writing process over time
W.7.3 (b)
I can use narrative techniques (dialogue,
pacing, and description) to develop a
storyline where one event logically leads
to another.
Writing Teaching Points 3
Targeted Standards: W.7.3 (d),
W.7.9 (a)
Supporting Standards: W.7.5,
W.7.10, L.7.5, L.7.6, SL.7.1 (c)
Analyzing the Structure and Craft
of Writing
Writers analyze their audience,
revise structure, tone, and craft to
engage readers, read work aloud to
others, and listen to responses
W.7.3 (d)
 I can use descriptive words and
phrases that appeal to the senses,
capture the action, and help my
reader understand the experiences
and events (create mind pictures).
W.7.9 (a)
I can compose written responses and
include textual evidence that supports my
analysis, reflection, and/or research.
Writing Teaching Points 4
Targeted Standards: W.7.3 (c,e)
Supporting Standards: W.7.5, W.7.7,
W.7.10, SL.7.5, L.7.6
Synthesizing Writing to Create a
Product
Writers polish their final drafts and
prepare to publish/present their final
products
W.7.3 (c,e)
 I can signal changes in time and
place by using transition words,
phrases, and clauses.
 I can write a logical conclusion that
reflects on the experiences/ events
and provides a sense of closure (ties
up all the loose ends and leaves the
reader satisfied).
SL.7.5
I can clarify information using the
appropriate media component or visual
display.
How to Balance Action, Narrative and Dialogue in Your Novel
By: Gloria Kempton | February 1, 2011
http://www.writersdigest.com/writing-articles/by-writing-goal/write-first-chapter-get-started/how-to-balance-action-narrative-and-dialogue-in-your-novel
Examples of BAD Dialogue
http://theeditorsblog.net/2011/11/03/bad-dialogue-bad-bad-dialogue/
Tips for Writing Dialogue
http://silvablu.skeeter63.org/HMG/07-dialog.htm
Harry Potter
This one was in HPHP during Snape's DADA class. Harry just returns after trying to break into the Room of Requirement and is a little late. Seamus asks Snape the difference between an Inferius
and a ghost. Snape decides to ask Harry the question.
“But Potter seems to have a lot to say on the subject,” said Snape, pointing suddenly at the back of the room, his black eyes fixed on Harry “Let us ask Potter how we
would tell the difference between an Inferius and a ghost.”
The whole class looked around at Harry, who hastily tried to recall what Dumbledore had told him the night that they had gone to visit Slughorn.
“Er — well — ghosts are transparent —” he said.
“Oh, very good,” interrupted Snape, his lip curling. “Yes, it is easy to see that nearly six years of magical education have not been wasted on you, Potter. ‘Ghosts are
transparent.’ ” Pansy Parkinson let out a high-pitched giggle. Several other people were smirking.
Harry took a deep breath and continued calmly, though his insides were boiling, “Yeah, ghosts are transparent, but Inferi are dead bodies, aren’t they? So they’d be
solid —”
“A five-year-old could have told us as much,” sneered Snape. “The Inferius is a corpse that has been reanimated by a Dark wizard’s spells. It is not alive, it is merely
used like a puppet to do the wizard’s bidding. A ghost, as I trust that you are all aware by now, is the imprint of a departed soul left upon the earth . . . and of course,
as Potter so wisely tells us, transparent.”
“Well, what Harry said is the most useful if we’re trying to tell them apart!” said Ron. “When we come face-to-face with one down a dark alley, we’re going to be
having a shufti to see if it’s solid, aren’t we, we’re not going to be asking, ‘Excuse me, are you the imprint of a departed soul?’ ”
There was a ripple of laughter, instantly quelled by the look Snape gave the class.
“Another ten points from Gryffindor,” said Snape. “I would expect nothing more sophisticated from you, Ronald Weasley, the boy so solid he cannot Apparate half an
inch across a room.”
Nearly Headless Nick "'Harry Potter knows that he can confide in me with complete confidence,' I told them. 'I would rather die than betray his trust.'"
"That's not saying much, seeing as you're already dead," Ron observed.
"Once again, you show all the sensitivity of a blunt axe," said Nearly Headless Nick in affronted tones.
Ron about his dress robes - HP4
"I’m never wearing them,” Ron was saying stubbornly. “Never.”
“Fine,” snapped Mrs. Weasley. “Go naked. And, Harry, make sure you get a picture of him. Goodness knows I could do with a laugh.”
She left the room, slamming the door behind her. There was a funny spluttering noise from behind them. Pigwidgeon was choking on an overlarge Owl Treat.
“Why is everything I own rubbish?”
Harry Potter
"How d'you spell 'belligerent'?" said Ron, shaking his quill very hard while staring at his parchment. "It can't be B-U-M-"
"No, it isn't," said Hermione, pulling Ron's essay toward her. "And 'augury' doesn't begin O-R-G either. What kind of quill are you using?"
"It's one of Fred and George's Spell-Check ones... but I think the charm must be wearing off..."
"Yes, it must," said Hermione, pointing at the title of his essay, "because we were asked how we'd deal with dementors, not 'Dugbogs,' and I don't remember you
changing your name to 'Roonil Wazlib' either."
Example of GREAT BEGINNINGS
― Jodi Picoult, Nineteen Minutes
In nineteen minutes, you can mow the front lawn, color your hair, watch a third of a hockey game. In
nineteen minutes, you can bake scones or get a tooth filled by a dentist; you can fold laundry for a
family of five. In nineteen minutes, you can stop the world, or you can just jump off it. In nineteen
minutes, you can get revenge....
From the Movie: Titanic
It’s been 84 years, and I can still smell the fresh paint. The china had never been used; the sheets had never been
slept in. Titanic was called, ‘The Ship of Dreams’—and it was, it really was.”
Example of building internal/external conflict in character
When you don't fit in, you become superhuman. You can feel everyone else's eyes on you, stuck like Velcro. You can
hear a whisper about you from a mile away. You can disappear, even when it looks like you're still standing right
there. You can scream, and nobody hears a sound.
You become the mutant who fell into the vat of acid, the Joker who can't remove his mask, the bionic man who's
missing all his limbs and none of his heart.
You are the thing that used to be normal, but that was so long ago, you can't even remember what it was like. ”
Some Rules for Quotation Marks in Dialogue
1.
2.
3.
4.
5.
6.
7.
8.
Each set of direct quotes (the exact words said) receives its own set of quotation marks.
Punctuation and commas always go inside of the quotation marks.
Use a capital letter at the beginning of each direct quotation unless the quotation is only part of a sentence.
When quotations are interrupted mid-way through the sentence, do not begin the second part of the sentence with a capital.
When stating who is being quoted, use a comma after the speaker tag and before the quotation marks.
Each new direct quote begins a new paragraph, even if it's short.
Question marks, exclamation marks, and dashes go inside quotation marks when they are part of the quotation, and outside when they are not.
Attributions (“He said, “She said” and variations) should be used, but not too much, and varied so they’re not repetitious; they can be used at the start of
quotes, in the middle, or at the end. When attributions are overused, they get in the way; the key is that the reader should always know who’s speaking.
A Quote within a Quote:
The professor explained, "I love the quote by Mark Twain that said, 'Always do right. This will gratify some people and astonish the rest.'"
Some Rules for Quotation Marks in Dialogue
1.
2.
3.
4.
5.
6.
7.
8.
Each set of direct quotes (the exact words said) receives its own set of quotation marks.
Punctuation and commas always go inside of the quotation marks.
Use a capital letter at the beginning of each direct quotation unless the quotation is only part of a sentence.
When quotations are interrupted mid-way through the sentence, do not begin the second part of the sentence with a capital.
When stating who is being quoted, use a comma after the speaker tag and before the quotation marks.
Each new direct quote begins a new paragraph, even if it's short.
Question marks, exclamation marks, and dashes go inside quotation marks when they are part of the quotation, and outside when they are not.
Attributions (“He said, “She said” and variations) should be used, but not too much, and varied so they’re not repetitious; they can be used at the start of
quotes, in the middle, or at the end. When attributions are overused, they get in the way; the key is that the reader should always know who’s speaking.
A Quote within a Quote:
The professor explained, "I love the quote by Mark Twain that said, 'Always do right. This will gratify some people and astonish the rest.'"
Transition examples are found:
1. Between Sections: In longer pieces of writing, transitional paragraphs summarize the information for readers, and specify the relevance of the
information in the sections to come.
2. Between Paragraphs: Transitions form a relationship between paragraphs by connecting them with phrases, words or sentences that can be placed
at the end of the first paragraph, the start of the second paragraph or in both places.
3. Within Paragraphs: These help the reader anticipate what is to come by acting as cues. Within paragraphs, transitions are usually short phrases or
single words.
Character Development
Directions: Answer each question fully and with as many details as possible.
1. What is your character’s name?
2. What color hair does your character have?
3. What color eyes does your character have?
4. How tall/short is your character?
5. How is your character built?
6. What does your character do for a living/where does your character go to school?
7. What does your character do for fun?
8. What is your character’s favorite food?
9. What does your character hate most?
10. Describe your character’s family:
11. Describe your character’s friends:
12. How old is your character?
13. Where does your character live?
14. Write a paragraph about your character.