American Modernism: The Roaring 20’s
Eleventh Grade
Four-Week Unit
Created by: Emily Clodfelter with
assistance from Lisa Wennerth
EDUC 463: Fall 2010
http://tvtropes.org/pmwiki/pmwiki.php/Main/TheRoaringTwenties
INTRODUCTION
 The units of this class are arranged chronologically and are following
American literature of the 1800’s to present. The units that lead up to
American Modernism are;
 Romanticism: The anchor text will be, Into the Wild: The concept or
main theme will be, The Fantastic Human Experience: A lot of focus
will be spent on imagination over reason and inner feeling. We will
also discuss transcendentalism.
 Realism: The anchor texts will be, The Catcher in the Rye and
Huckleberry Finn: The concept or main theme will be, “Be the Change
You Wish to See in the World”. We will be focusing on persuasive
writing for a cause, and the move away from romantic writing.
 The Harlem Renaissance: The anchor author will be, Langston
Hughes: The concept or main theme will be historical context.
 Modernism: The anchor texts will be, The Great Gatsby: The concept
or main theme will be, humanitarianism and random acts of kindness.
We will focus on the fear of loss and the rise of the youth culture. We
will also focus on experimental writing that developed.
 Rhetorical Analysis and Argumentation: The anchor text will be The
Red Glass: The main concept or theme will be immigration, service,
letters to congress. We will focus on speeches and letters that provide
excellent examples of influential arguments.
 Contemporary: The anchor text will be a chosen novel by the student
that was written between 1945 and present day. We will use these
texts to create genuine book discussions that will occur throughout
the year but will be focused on within the final weeks of second
semester.
 The students will range in ages 16-17 and will come from an array of
backgrounds – therefore an array of interest as well. The community around
Windsor High School is both rural and suburban. This would lead me to
imagine an eclectic group of students, adding multiple viewpoints to a class
discussion. Windsor High School is also the only high school in the Weld
School District R-4; therefore there will be students with a multiple of talents.
They also do not currently have an AP program at WHS so the students in my
class will range from below proficient to highly advanced.
 This will be one of the later units of the second semester; it will fall directly
after they study the Harlem Renaissance. This will provide for some
historical background of the 1920’s for my students. The Great Gatsby will fit
in following the Harlem Renaissance because of many American cultural
similarities between the two types of literature. The lifestyles expressed in
the two different types of literature will provide my students with a broader
sense of what 1920’s America was like.
 Materials/Authors to be used:
o Anchor Text: The Great Gatsby: By F. Scott Fitzgerald, 1925 – Novel
o “Flapper Jane”: By Bruce Bliven, 1925 – article from The New Republic
o Focus Authors of the time:
o Ernest Hemmingway
 All armies are the same… - Poem - 1922
o William Faulkner
o John Steinbeck
o Focus Poets of the time
o Ezra Pound
o T.S. Elliot
o Robert Frost
o e. e. cummings
o Carl Sandburg
 For this unit I will be using the Eleventh Grade Colorado Standards for
Reading, Writing, and Communicating as according to the CDE website.
Understanding By Design Template Developed by Wiggins, Grant and J. Mc Tighe.
(1998). Understanding by Design, Association for Supervision and Curriculum
Development
Title of Unit
American
Grade Level Eleventh Grade
Modernism
Curriculum Area
American
Time Frame Four Weeks
Literature
Developed By
Emily Clodfelter with assistance from Lisa Wennerth
Identify Desired Results (Stage 1)
Content Standards
11.1.1.e, 11.1.2.a.i, 11.1.2.a.vi, 11.2.1.a.i, 11.2.1.a.ii, 11.2.1.a.iii, 11.2.1.b.i, 11.2.1.b.iii,
11.2.1.c.ii, 11.2.1.d.i, 11.2.2.a.i, 11.2.2.a.ii, 11.2.2.a.iii, 11.2.2.a.iv, 11.2.2.a.v, 11.2.2.b.i,
11.2.2.b.ii, 11.2.2.b.iii, 11.2.3.a.i, 11.2.3.b.ii, 11.2.3.c.i, 11.2.3.d, 11.3.2.a.ii, 11.3.2.a.iv,
11.3.2.a.v, 11.3.2.b.i, 11.3.2.b.ii, 11.3.2.b.iii, 11.3.2.b.iv, 11.3.2.b.v, 11.3.2.b.vi,
11.3.3.vi, 11.3.3.a.vii, 11.3.3.b.i, 11.3.3.b.ii, 11.3.3.c, 11.3.3.d, 11.4.2.a, 11.4.2.c,
11.4.2.e
Understandings
Essential Questions
Overarching Understanding
Overarching
Topical
How do authors use motif and theme in
What is; motif,
Specifically
order to capture society of a given literary
theme, symbolism, how does
era and provide more detail for a story?
etc.?
Fitzgerald
How did the end of capture the up
WWI affect society rise of the
Related Misconceptions
in America?
youth culture
How
does
in The Great
Modernism is what is current in society, not
modernism differ
Gatsby using
a literary era that took place in the 1920’sfrom realism?
symbolism and
1950’s.
How do authors of
motif?
Literature that was written in the
the modernism era How does the
modernism era is not relevant to today’s
of literature
shift from
society.
capture the current realism to
events of the time
modernism
in their writing?
depict the fear
of an eroding
past?
Specifically
how does
Fitzgerald
illustrate this
drive to
preserve the
past?
Knowledge
Students will know…
Skills
Students will be able to…
How literature developed from the realism
Identify varied literary conventions
era to the modernism era.
and annotate them within a text.
How authors use motif, theme and
Extract evidence that supports their
symbolism in order to convey societal
claims about different usages of
conventions.
literary techniques.
How the historical events of this time era
Use literary terms in classroom
impacted literature.
conversations.
Assessment Evidence (Stage 2)
Performance Task Description
To write a cohesive and well quantified rhetorical analysis
Goal
of The Great Gatsby
Role Literature Anthropologist
Audience Subscribers to their article
They have been asked to find evidence in the text that
supports how the events of American society in the 1920’s
Situation
was represented in literature through varied literary
techniques that developed during the modernism era.
Product/Performance Rhetorical Literary Analysis essay
Standards 3.2.b.i-vi., 3.3.a.i.-vii., 3.3.b., 3.3.c., 3.3.d., 3.3.e.
Other Evidence
Students should be able to use literary terminology when work-shopping with their
peer while discussing drafts.
Learning Plan (Stage 3)
Where are your students headed?
Where have they been? How will
you make sure the students know
where they are going?
How will you hook students at the
beginning of the unit?
What events will help students
experience and explore the big
idea and questions in the unit?
How will you equip them with
needed skills and knowledge?
By this point my students will have studied a
variety of eras in American literature. They
will be building off these concepts in order to
structure their overall understanding of how
literature has developed through time and is
constantly influencing the future or writing.
By introducing my students to the culture of
the 1920’s and how it is still relevant today.
I will discuss different historical contexts of
the time such as; the end of WWI,
prohibition, and the rise of the youth culture.
The units that will come before this unit will
provide the scaffolding needed in order to
understand how different literature eras
have developed over time and how they have
built off of one another. In order to give my
students the cultural context they will need
in order to understand how Fitzgerald
captures society of the Roaring 20’s we will
How will you cause students to
reflect and rethink? How will you
guide them in rehearsing,
revising, and refining their work?
How will you help students to
exhibit and self-evaluate their
growing skills, knowledge, and
understanding throughout the
unit?
How will you tailor and otherwise
personalize the learning plan to
optimize the engagement and
effectiveness of ALL students,
without compromising the goals
of the unit?
How will you organize and
sequence the learning activities to
optimize the engagement and
achievement of ALL students?
have a brief history lesson of America in the
1920’s.
By completing the rhetorical analysis essay,
my students will be forced to go back over
their reading notes and find examples of
ways in which Fitzgerald uses motif and
theme to capture the essence of the Roaring
20’s. We will also practice finding textual
evidence throughout the unit on smaller
pieces of work such as; short stories. We
will also spend time work-shopping.
I will first demonstrate for them what motif
is and how you find in it literature by using
an example from an authentic text. As we
read together we will be annotating the text
with sticky notes for instances of literary
techniques - I will later collect these. Then I
will encourage them to write their own short
story and while doing so, develop
symbolism, theme and motif. Finally, I will
see their ability to extract evidence from a
text in a literary analysis essay.
I will use a variety of texts and variety of
authors to hopefully reach different personal
relevancies that my students may have. I
will also hopefully make the content
accessible to my students by exhibiting to
them how the current events of the 1920s
are not so different from those of today’s
society.
I will use gradual release in order to ensure
understanding of literary terms, then
practice them together and individually.
Finally I will require them to demonstrate
their understanding how literary techniques
are used by analyzing The Great Gatsby.
RATIONALE
The reason behind teaching modernism to my students is the relevance that
this literary era carries in literature as a whole. I am using The Great Gatsby as my
core text for this unit in order to give my students a merited novel that depicts both
modernism stylistics and American culture of the 1920’s. I want to be able to
demonstrate for my students how the same techniques used by F. Scott Fitzgerald
are still prevalent today and also how some of the same culture concepts of the
1920’s are still dominate in American culture.
The concepts I am referring to include; moral questioning, economic
empowerment, generation gaps, and transition of a nation. During the 1920’s
America was in a limbo between World War I and The Great Depression. The
overarching notions of this time period reflected heavily on America as a whole and
how we handle ourselves in a time of transition. Many great staples in history took
place during or around the 1920’s. For instance prior to the 1920’s WWI occurred.
This boosted American’s economic system and put us at the top of the most
powerful nations. The literary work The Great Gatsby depicts this rise and eventual
decline well in an almost analogical sense. Using this novel, I will be able to depict
to my students the rise and fall of the American economic system which in turn led
to the rise and fall of “The American Dream”.
Fitzgerald uses a wide array of literary techniques in order to create this
depiction of modern America in The Great Gatsby and by analyzing these techniques
including; symbolism, analogies, metaphors and themes, I will be able to teach my
students how writers were not only writing to entertain, but inform as well. The
cultural significance of this novel goes far beyond descriptively capturing the
lifestyle and sense of freedom that came along with the 1920’s, but also puts a story
and dialogue to one of the most influential historical periods in America.
Studying this novel and time period is both academically and culturally
relevant to my students. The novel will be able to depict for them how themes and
symbolism is used in writing and this will in turn help them to identify these writing
techniques in other pieces of literature. In order for my students to be able to write
a cohesive and academic literary analysis they will have to be able to explain the
different motifs in The Great Gatsby and explain to their reader why Fitzgerald
would chose to demonstrate these cultural norms in the manner he did. While
grading their literary rhetorical analyses I will be able to judge both their
understanding of modernism writing technique and the concept of the “American
Dream”. By understanding these writing techniques my students will be better
prepared for any standardized test and any future academic essays they may have to
write. Requiring my students to validate the points they use in their essays it will
also better their skills in any rhetorical statement they may have to make whether
academic or not.
Some may argue with me that The Great Gatsby is out of date and irrelevant
to my students of the 21st century. I would then inform them of how the 1920’s act
as nearly a mirror to what this generation is going through, they are at the end of a
war and their country is facing an economic crisis. The concepts and historical
events of the 1920’s (although they happened nearly one hundred years ago) are no
different than the culture shift this generation is experiencing. The lifestyle of today
is still looked at as being “rambunctious” and “overly concerned with fun”. The only
difference is the choice in contemporary style and music that this generation has.
Another argument someone might have against my unit is that there are
plenty of better or more challenging novels that have been written more recently. I
would suggest to them that I am not only teaching the novel of the story, but for the
literary merit it carries and Fitzgerald’s clear use of motif and theme that can be
applicable to any writing I may ask my students to do. We are also studying the
transition into modernism writing and Fitzgerald’s ability to capture the “party
lifestyle” of this time period is ageless.
In order to give my students the wide perspective they deserve on the
modernism period of American literature we will also be looking at an array of short
stories. I will also give my students some short pieces on the historical perspective
surrounding the 1920’s in order to provide them with some more cultural
background. We will look at events such as prohibition, WWI, and The Great
Depression. We will look at these events before beginning the main novel in order
to provide my students will some foundation to go off of, this will then help to better
understand the motifs that Fitzgerald creates right off the bat.
CALENDAR
~ March 2012 ~
◄ Feb 2012
Sun
Mon
Tue
Wed
Apr 2012 ►
Thu
1
Fri
Sat
2
3
9
10
*Harlem
Renaissance
4
5
6
*Harlem
Renaissance
11
12
7
13
14
*Harlem
Renaissance
18
19
20
*Harlem
Renaissance
25
26
8
*Harlem
Renaissance
*Harlem
Renaissance
15
21
22
*Harlem
Renaissance
27
*Introduce the
roaring 20’s and
Modernism –
Great Gatsby
Scavenger Hunt
HW: Ch.1
16
17
23
24
*Harlem
Renaissance
28
*End of Harlem
Renaissance
29
*Review
scavenger hunt
*Discuss
annotation
techniques for
poetry & novels
HW: Ch.2/3 &
annotations
30
31
CALENDAR CONTINUED
~ April 2012 ~
◄ Mar 2012
Sun
1
Mon
2
Tue
3
*Character
analysis and
development
Wed
4
May 2012 ►
Thu
5
*Look at
Fitzgerald’s
language and
symbolism
**Quiz over Ch.6
HW: Ch. 6
Fri
6
Sat
7
*Discuss motifs
and themes with
Poe’s short story
writing
HW: Ch. 8
HW: Ch. 7
8
9
10
11
*Discuss the
concept of
themes using a
relevant short
story
15
16
17
*First Draft of
final paper due
22
23
12
18
19
*Workshop
second draft
24
13
14
20
21
*Finish the Great
Gatsby
*Look at major
themes
25
*Literary
Rhetorical
Analysis Essay
Due
26
27
28
Lesson Plan for Day One: Tuesday March 27th
LEAD LESSON
Grade Level: 11th
Subject: 1920’s - The Great Gatsby Introduction
Prepared By: Emily Clodfelter (adapted from Valeria Arbiuz)
Overview and Purpose:
To provide an inclusive introduction to,
The Great Gatsby. This activity will
provide necessary historical concepts that
are relevant to the novel. It also requires
students to use 21st Century Skills
Standards Addressed: 11.2.1.a.vi,
11.2.1.b.iii, 11.2.2.a.i
Teacher Guide
Objectives
To begin a new unit and
hopefully engage, and excite
students about the content of the
novel they are about to read.
Student Guide
To follow the scavenger hunt
website either alone or with a
partner. They will collect the
answers to the questions as
they explore the varied
websites.
Audience: My American Literature eleventh graders at Windsor High School
Behavior: Students will complete the scavenger hunt and complete the questions
that apply to the scavenger hunt. They will do this by following the linked websites
on the scavenger site I provide for them. They may do this in either pairs or
individually, but groups no larger than two.
Condition: Students will be expected to have some knowledge of the 1920’s from
studying the Harlem Renaissance. But the novel and majority of the historical
context and author biography should be new to them.
Degree: I expect that each student should be able to give me an answer sheet with
all the correct answers. The scavenger hunt provides clues and a layout to find the
correct answers; they just have to find them. This activity should take the entire
class period in order to be completed thoughtfully and thoroughly.
Materials Needed: Computers, Worksheets/Blank pieces of paper, writing utensils
Additional Notes: Students may need assistance finding the answers and in
addition some help “skimming” the material. They will not be expected to read all of
the articles that they have to search through, so this will be a great time to guide the
skill of skimming.
Anticipatory Set: This will seem like a lot of material to sort through in a short
period of time, but the answers are practically given to you. The articles that you
will read while looking for your answers are also foreshadowing what we are about
to read in The Great Gatsby. The culture of the 1920’s was very exciting, intriguing
and often times corrupt. It may not be as dull as you think!
Daily Plan
Time:
Teacher Will:
Students Will:
10 min Take attendance/Read
Read individual choice
novels silently
5 min
5 min
Read Fitzgerald’s Biography aloud
Walk and resettle into computer lab
Students follow along
//
Get everyone on the right website to begin
scavenger hunt/Go over the instruction for
scavenger hunt
Get websites on the
computer screen/Follow
along while reading
instructions
55 min
Monitor room and answer questions/Facilitate
active engagement
Scavenger hunt/Fill-out
worksheet
5 min
Wrap-up/Ask student to share 1 thing they
found that was interesting about the 1920’s that
they may have not known prior to the scavenger
hunt.
Share interesting facts with
the class
5-10
min
Differentiation:
This is a great assignment in that fact that it can either be really difficult or
super easy. The scavenger hunt provides for self-facilitated learning. This will allow
for my superior students to conduct the activity without feeling “slowed-down” or
“pestered” by me. Whereas, the students that might be struggling will have an
easier time getting one-on-one help from me. They might also feel less pressure if
they have to ask me for assistance because they will be working on this assignment
individually. The students who complete the assignment early will be asked to
begin reading the novel. The students who do not finish will finish the assignment
for homework.
Assessment:
I will grade for completion one point for each answer. Answers will vary
drastically so this will be my method to grade each student fairly. I will count this
worksheet towards their overall participation grade.
Homework:
Finish the scavenger hunt if you have not yet.
Read Ch. 1 – While doing so think of symbolism you see.
Website Layout
Activity for Day 1: Introduction to, The Great Gatsby
The Great Gatsby Scavenger Hunt!
http://www.huffenglish.com/gatsby/gatsbyhunt.html
This treasure hunt was authored by Valerie Arbizu, with some alterations and
updated links.
Follow the directions given for each section. Answer thoroughly in complete
sentences on your own paper. Do not "cut and paste" -- rephrase the answers in
your own words.
1) F. Scott Fitzgerald
Skim the biography of F. Scott Fitzgerald. List the major
influences on his life and writing.
2) World War I
After the war ended, the economy skyrocketed, making
it possible for people to spend more time and money on
leisure activities. After reviewing the website in this
section, list three major innovations that came out of the WWI experience.
After the War: List the dominant postwar American attitudes and the major
movements of the 1920's. Pay close attention to the attitudes of the "Lost
Generation" and the "Prosperity & Consumerism" movement.
3) 19th Amendment
What right did women gain from the passage of the 19th Amendment?
4) The Roaring Twenties
List three major events that occurred in 1922 (the year in which the novel is set).
5) 18th Amendment
What exactly does the amendment abolish? What was the result?
18th Amendment
Wikipedia: Eighteenth Amendment to the United States Constitution
6) Prohibition
What is a Speakeasy? Based on information you have already collected from
previous questions, why do you think Speakeasies popped up across the country?
Wikipedia: Speakeasy
Speakeasy photos
7) Organized Crime and Arnold Rothstein
What's in a name?: List three elements of Rothstein's character that interest you.
Explain.
The Organizer: Read the quotes at the beginning of this site. What is his primary
occupation? What are his "sidejobs"?
Did your impression of Rothstein change from one web page to the next? Explain.
8) Flappers
Read the first five paragraphs of the article about "Flapper Jane." According to the
author, what are the essential elements of being a true flapper?
After reading the article, look at the selected photos of Louise Brooks. Does she fit
the "Flapper" profile as proposed by the author of "Flapper Jane"? Why or why not?
Read Dorothy Parker's poem "The Flapper." Do you think Ms. Parker approves or
disapproves of Flappers? Explain.
9) Automobiles
Why were cars considered "the most important catalyst for social change in the
1920's"?
The Rise of Automobiles
Photos of 1920's era automobiles.
Gatsby Coachworks: Reproductions of 1920's era automobiles. The white and gold
car is similar to what Jay Gatsby would have driven.
10) Music
Listen to the music on the radio blog music player to the right (click on the track
with your mouse).
As you listen, record your thoughts and reactions to the songs.
11) 1920's Slang
Read some 1920's slang terms.
List 5 slang words or phrases and definitions from this site and write them down in
your notes.
Why did you choose these terms?
12) Drawing Conclusions
Based on the information you have collected from this website, what do you think
the plot and setting of The Great Gatsby will include? What kinds of characters do
you expect to encounter in the novel?
Updated May 10, 2011
The Great Gatsby Scavenger Hunt Worksheet
Name:
1) List 3 major influences on Fitzgerald’s life:
1.
2.
3.
2) List 3 innovations that came after WWI:
1.
2.
3.
What were the dominant postwar attitudes? Focus on the “Lost Generation” and
the “Prosperity and Consumerism” movement.
3) What rite did women gain from the passage of the 19th Amendment?
4) List 3 major events that occurred in the year 1922?
1.
2.
3.
5) What was the result of the 18th Amendment being abolished?
6) What is speakeasy? Why do you think they popped up all over the country during
this time?
7) What are 3 characteristics of Rothstein’s character that interest you? Please
explain.
What was the Organizer’s primary occupation? What are his “sidejobs”?
Did you initial impression of Rothstein change from one website to the next?
Please explain.
8) According to the author, what are the essential elements of being a true flapper?
Do the photos of Louise Brooks fit the "Flapper" profile as proposed by the author of
"Flapper Jane"? Why or why not?
Do you think Ms. Parker approves or disapproves of Flappers? Explain.
9) Why were cars considered "the most important catalyst for social change in the
1920's"?
10) Record your thoughts and reactions to the music below:
11) List 5 slang words or phrases and definitions from this site and write them
down in your notes.
1.
2.
3.
4.
5.
12) Based on the information you have just collected, predict what you think the
plot of The Great Gatsby is going to be about. What do you think some of the
characters will be like? Do you predict any themes that may arise in the novel?
Lesson Plan for Day Two: Thursday March 29th
Grade Level: 11th
Prepared By: Emily Clodfelter
Overview and Purpose:
Introduction of annotation – students need
to know how to annotate a text in order to
make sense of the major motifs.
Standards Addressed: 11.1.2.a.i,
11.2.1.a.ii, 11.2.1.b.i, 11.2.1.d.i, 11.2.2.b.i,
Teacher Guide
Objectives
Subject: Annotation
Scaffold annotation of irony,
symbolism and foreshadowing.
Student Guide
Have scavenger hunt
completed and have ch.1 read.
Share answers from scavenger
hunt
Follow along as we annotate
ch.1
Audience: My eleventh grade students at WHS
Behavior: I want to have active participation in reviewing the answers to the
scavenger hunt. Students should have the first chapter of the novel read and ready
with sticky notes to annotate the chapter as a class.
Condition: After having a brief history lesson the 1920’s from the scavenger hunt
students should be ready to look for themes or symbolism within the novel that
represent the 1920’s.
Degree: I expect that each student should follow along with the class. I expect that
my students should have an idea of how to find symbolism in a novel, but they might
need help expressing why something qualifies as an example of symbolism. They
may also not have had much experience annotating literature, but I will model for
them the first half of the chapter.
Materials Needed: Individual copies of The Great Gatsby, sticky notes, completed
scavenger hunt, writing utensils
Additional Notes: I will want to model for my students first how to properly
annotate a piece of literature, so I will do the first chapter and then allow my
students to continue to annotate the second chapter.
Anticipatory Set: Some students may not understand the concepts of symbolism,
motif, or foreshadowing so we will review these briefly before beginning.
Daily Plan
Time:
10 min.
Teacher Will:
Students Will:
Take attendance/Quickly assess scavenger hunt Read individual novel
completion/Read silently
silently
10/15min. Review answers to the scavenger hunt
Share answers to the
scavenger hunt/ask
questions about answers
they could not get
3 min.
Quickly review concepts like; motif,
Take notes
symbolism and foreshadowing
10 min.
Transition to WWI destruction – Ernest
Read along with the poem
Hemmingway background – Read poem aloud
10 min.
Model annotating poetry
Follow along with
annotations on their
individual copies
10/15min. Transition back to The Great Gatsby
Following along by making
Model annotating ch.1
sticky notes/asking
questions
20 min.
Walk the classroom and check for questions
Students begin annotating
ch. 2 with sticky notes –
looking for instances of
symbolism, motif, and
foreshadowing
5/10 min. Facilitate class discussion about annotation of
Give examples of
ch.2 and wrap-up with questions and
annotations in the
homework assignment
beginning of the chapter
Differentiation: I will be using modeling to scaffold the concept of annotation to
my students. By allowing them to work individually they can then take their own
pace. I am also using two different types of literature to make the concept more
accessible because we will be approaching in more than one format.
Assessment: I will mainly assess on participation during this lesson plan. I will also
be collecting their annotations from chapter 2, 3, and 4 to provide feedback – it
really isn’t a formal assessment just guidance.
Homework: Finish reading chapter 2 and read chapters 3 & 4 – continue with
sticky note annotation while reading and prepared to give me at least 3 per chapter
at the beginning of class on Monday.
[All armies are the same…]
All armies are the same
Publicity is fame
Artillery makes the same old noise
Valor is an attribute of boys
Old soldiers all have tired eyes
All soldiers hear the same old lies
Dead bodies have always drawn flies
Hemmingway - Paris 1922
Lesson Plan for Day Three: Monday April 2nd
Grade Level: 11th
Subject: Character Development & Foreshadowing
Prepared By: Emily Clodfelter
Overview and Purpose:
To analyze the process of character
development and how we can use these
clues to foreshadow future plot
development
Standards Addressed: 11.1.2.a.i,
11.1.2.a.vi, 11.2.1.a.ii, 11.2.1.a.iii,
11.2.1.b.i, 11.2.1.b.iii, 11.2.2.b.i,
Teacher Guide
Objectives
Use character development
chart to have students analyze
the development of main
characters.
Student Guide
Use the character development
chart to show how your
favorite character has been
developed thus far.
Audience: My eleventh grade students at WHS
Behavior: I will have expected my students to have read through Ch. 4 and have
their annotations ready to hand in.
Condition: At this point in the novel, Fitzgerald has established strong character
outlines. My students should be able to now take the character chart and fill it out
according to the character they chose. After doing this we will discuss
foreshadowing and then I want them to predict how the character development for
their character will progress.
Degree: I expect that my students might have a slow start on the character chart,
but once they get the hang out they will soar. I think that after a brief review of
character development and foreshadowing they should each be able to successfully
predict a further outline of their character.
Materials Needed: Individual copies of The Great Gatsby, completed annotations of
chapters 2, 3, and 4.
Additional Notes: I fear that this particular lesson may need some more
information to go with it. I will have a prepared “emergency” activity if my students
complete this assignment early.
Anticipatory Set: Students may claim that they do not know what the character
looks like or thinks, but when this happens I will be sure to reference examples of
how Fitzgerald builds all of the characters in this novel. I also expect that may
become frustrated when trying to predict the rest of the character’s development or
foreshadow plot events, but I think that this is great practice for using their critical
thinking skills.
Daily Plan
Time:
10 min.
Teacher Will:
Take attendance/Collect Annotations of
chapters 2-4/Read silently
3 min.
Debrief annotations - Check in with students
for understanding - take time to answer
questions/diffuse problems
Briefly review character development Mention ch. 3 and the extensive description
we finally get of the “Great Gatsby”.
 Why do you think Fitzgerald waits
until the 3rd chapter to introduce
Gatsby fully?
 How does this affect the novel/final
appearance of the main character?
Demonstrate character map using student’s
choice of a popular movie character or
cartoon.
Walk the room and help answer questions or
stuck students
10 min.
5 min.
10/15 min
Students Will:
Have annotations on
desk/Read individual novel
silently
Ask questions about
annotations or the chapters
Respond to teacher’s
questions - debate how this
late exposure of the main
character either enhances
or distracts the reader’s
attachment to the main
character.
Help teacher to complete
sample character chart.
Complete character maps
either individually or in
pairs.
Sharing of character maps
5/10 min.
Ask for volunteers to share their characters
5 min.
Discuss how the character development affects Give opinions on character
that audience’s opinion/perspective of that
development
character.
Brief explanation of foreshadowing
Take notes
5 min.
10/15 min
5 min.
Provide quick example of how character
development can assist foreshadowing
Answer the foreshadowing
questions in reference to
their character and how
Fitzgerald has built that
character up. - Use specific
examples from the text!
Take notes
Review Irony - 3 Types
 Dramatic
 Aware audience - Unaware character
 Situational
 Literal irony - Created by reality
 Verbal
 Intentionally saying was is not meant
10/15 min Ask students to find 3 examples of irony in the Look for irony individually
chapters we have read thus far and identify
or in pairs.
which kind of irony they think it is
Remaining Wrap-up
Give me irony examples
Differentiation: For students who want, or need a challenge I will suggest doing
characters such as; Jordan or Tom. For the students who struggle a bit more with
critical thinking I will suggest lead characters like; Gatsby or Daisy.
Assessment: I will grade their character chart on both completion and
thoughtfulness. (5pts each) this grade will go towards their participation grade.
Homework: Ch. 5 - Instances of irony thoughts
Character Development
Character Development/Foreshadowing Worksheet
Name:
1) How has Fitzgerald developed the physical appearance of your character?
2) How has Fitzgerald developed the personality of your character?
3) How does you character interact with other characters? (confidently,
egotistically, timid, etc.)
4) How do you think your character will continue to develop through the novel?
Will their personality change? Will they remain the same? Will they have a large
impact on any of the other characters? If so who and how?
5) Why do you think Fitzgerald has crafted this character in this way; how does it
affect the way you interpret the other characters?
Lesson Plan for Day Four: Wednesday April 4nd
Grade Level: 11th
Prepared By: Emily Clodfelter
Subject: American Dream
Standards Addressed: 11.1.2.a.i,
Overview and Purpose:
To discuss the concept of the “American
11.1.2.a.vi, 11.2.1.a.ii, 11.2.1.a.iii,
Dream” - How do we see this ideal present 11.2.2.b.i,
in the novel?
Teacher Guide
Objectives
Give students an overall
understanding of the “American
Dream” and how this plays into
the novel
Student Guide
Get a basic understanding of
the ideals in the 1920’s
Audience: My eleventh grade students at WHS
Behavior: I expect my students to be able to at some contribution to the discussion
because of previous knowledge.
Condition: After discussing irony and character development I believe my students
will be able to grasp larger concepts like the “American Dream”. Because they are
this far into the novel and have looked in depth at characters they can then analyze
how the plot of the novel fits into the overall mantra of America in the 1920’s.
Degree: I expect that my students might have a slow start on the character chart,
but once they get the hang out they will soar. I think that after a brief review of
character development and foreshadowing they should each be able to successfully
predict a further outline of their character.
Materials Needed: Individual copies of The Great Gatsby, notebooks, writing
utensils, journals, computer/projector
Additional Notes: Everyone has their own interpretation of what the “American
Dream” really means. It is important to remember that although there are staples
that make up the typical American Dream, that doesn’t mean that those ideals hold
true for everyone.
Anticipatory Set: Students should some background knowledge on this concept,
but may have not yet seen it in literature. We will discuss the American Dream in
both a positive light and we will also discuss the negative aspects.
Daily Plan
Time:
10 min.
10 min.
10 min.
5 min.
30-35
15 min
5 min.
Teacher Will:
Take attendance/Read silently
Students Will:
Read individual novel
silently
Wrap-up irony discussion - Ask for examples - Students give examples of
Close reading of the text
irony
Give and explain journal prompt
Write in journals silently
Share American Dream/Ask for examples
from students
-Analyze how American Dream is depicted in
Martin Luther King’s speech I Have A Dream
-Discuss concept of how ideals of the
American dream change from person to
person - Characters of the Great Gatsby
-Discuss prior knowledge of what the
“American Dream” was/ what it looks like
today
 How have things changed?/Stayed the
same?
Why have the changes happened or not? Look at historical markers
Give I have an American Dream journal
prompt
Wrap-up - Individual American dreams
Share journal entries
Participate in discussion
Take notes
Journal
Share individual dreams
Differentiation: I have provided a diverse amount of reading, writing, and
conversation throughout this lesson plan. Hopefully multiple learning personalities
will be able to find a way in which they relate to the content.
Assessment: I will grade them on participation and assess their understanding of
the American Dream concept in their I have an American Dream. (10pts.)
Homework: Ch. 6 - Be ready for a quiz on Friday 
Writing Prompt 1 - American Dream
Project yourself into the spotlight of the American Dream.
Perhaps you score the winning touchdown in the Super
Bowl, discover the cure for AIDS, accept you first
Newberry Medal for literature, or put the keys in the
ignition of your dream car or the lock of your dream
house. Write about this moment. How old are you?
Where do you live? Who is with you? How does this
moment change your life?
Writing Prompt 2 - I have an American Dream
Mimicking the format of Dr. King’s speech, please write to us
about your personal American Dream. Use your first journal
entry of the day to help you create this mini speech. Convey to
use your passion through word choice and use descriptive
language to paint us a picture of your American Dream.
Lesson Plan for Day Five: Friday April 6th
Grade Level: 11th
Prepared By: Emily Clodfelter
Overview and Purpose:
We will further our discussion of character
development by looking at how that
effects plot development - we are going to
specifically be looking at author’s craft.
Subject: Plot Development
Standards Addressed: 11.1.2.a.i,
11.1.2.a.vi, 11.2.1.a.ii, 11.2.1.a.iii,
Teacher Guide
Objectives
Have students create a plot map
to accompany their character
map
Student Guide
Plot maps
Audience: My eleventh grade students at WHS
Behavior: I expect that my students will need more guidance with plot mapping and
author’s craft because this is a more abstract idea than character development. This
will force students to critically think about how word choice and author’s craft
really affect the overall flow of the novel.
Condition: Students have had practice with the character maps, but this will be
harder for them because of the critical thinking it requires. It will also show me if
they have really been reading the novel 
Degree: I will let them work in groups to do this because it is a harder concept. they
not only have to think about how Fitzgerald irony, symbolism, and motif affect the
overall meaning of the novel, but how that relates to larger historical concepts like;
prohibition, materialism, wealth, etc.
Materials Needed: Individual copies of The Great Gatsby, large pieces of paper,
markers, writing utensils.
Additional Notes: Because I am letting them work in groups, I will be heavily
monitoring work ethic and collaboration.
Anticipatory Set: Students might get frustrated with this assignment, so I plan on
first modeling ways in how to do it, and then giving them a lot of guidance while
they complete the assignment.
Daily Plan
Time:
10 min.
Teacher Will:
Take attendance/Read silently
5 min.
Collect quizzes/Answer questions
10 min.
Provide journal prompt/journal
Students Will:
Read individual novel
silently
Take quiz individually and
silently
Ask questions about the
quiz
Journal
5 min.
Share journal
Share Journal
15/20 min. Quiz over chapter 6
30/35 min. Introduce Egg Activity
- Provide example
-Ask questions
Have students create an Egg Map - similar to a
character map they will think of influential
places in East Egg/West Egg that have an
impact on the novel in some way. They will
then write examples (from the book) next to
that place on the map and relate it to the
overall historical context of the 1920’s.
5 min.
Wrap-Up - we will complete these eggs on
Tuesday
Complete Egg Activity in
groups using references
from the book
Clean-up
Differentiation: I have again asked students to read, write, and critically analyze.
This will reach to multiple learning styles. I am also allowing for them to work in
groups which will hopefully help to scaffold the learning process for every student.
Assessment: I will grade the quiz on a 10/10 range. These points will attribute to
their overall test/quiz grade. I will collect their Egg activity the next class period.
Homework: Ch. 7
The Great Gatsby: Quiz on Chapter 6
Name:
Answer the following questions on chapter 6 of The Great Gatsby to your best
ability. Please raise your hand if you have any questions of clarity.
1) What do we learn about Gatsby in this chapter? Give one fact.
2) How did Gatsby make all his money?
3) Tom invites Gatsby to lunch and Gatsby accepts when Tom really did not want
him to - what kind of irony is this?
4) Who was driving the car? How does this affect the plot? (2pts.)
5) What does Gatsby do after the car crash?
Journal Prompt: How the Places We Live Make Us the People We Are
Many things effect how our personalities develop; our parents,
friends, personal morals, siblings, etc. One aspect of our lives is
often not thought of when we contemplate why we are the
people we are - our home. How does the area in which you live
affect your daily life? Suburbia, rural, city - How do these
different areas affect someone’s outlook on life or personality?
What about specific places you like to hang out - what do these
places say about who you are?
Egg Activity
Draw how the world of West Egg/East Egg looks like to you.
Mark important places on the map and how those places are
mentioned in the novel. How does the description of these
places relate to the overall historical concept of America in the
1920’s? You can work in a group or alone.
Lesson Plan for Day Six: Tuesday April 10th
Grade Level: 11th
Prepared By: Emily Clodfelter
Overview and Purpose:
To give a full understanding of what
theme and motif mean by using a relevant
short story.
Objectives
Subject: Themes/Motifs
Standards Addressed: 11.1.2.a.i,
11.2.1.a.ii, 11.2.2.a.i - 11.2.2.a.v,
11.2.2.b.i
Teacher Guide
Student Guide
Use “The Cask of Almontiado”
by Edgar Allan Poe to compare
theme and how language and
symbolism play into theme
development
Take notes on theme and motif
Audience: My eleventh grade students at WHS
Behavior: I expect my students to take turns reading the text aloud to the class and
to be actively engaged with the concept.
Condition: Students will have two different types of material and two different
literature eras to look at in order to grasp the concept of theme and how symbolism
and motif play into establishing theme.
Degree: I will expect my students to finish their Eggs Maps and then participate in
the reading.
Materials Needed: Individual copies of The Great Gatsby, individual copies of “The
Cask of Almontiado” by Edgar Allan Poe, Doc Cam, journals, writing utensils.
Additional Notes: Maybe preface the short story with a depiction of how it is rather
disturbing.
Anticipatory Set: Students may feel as though they have to connect the two texts so
it is important to preference that these are two very specifically different texts on
purpose - to demonstrate how all authors craft their themes differently, but by using
the same techniques.
Daily Plan
Time:
10 min.
Teacher Will:
Take attendance/Read silently
10 min.
Give journal prompt/journal
5 min.
Students Will:
Read individual novel
silently
Journal
Share journal - Discuss how we see obsession
in The Great Gatsby and how we will see it in
Poe’s short story
10/15 min. Finish Eggs
Share journals
10 min.
Take notes
Discuss the definition of theme and motif.
Review symbolism.
20/30 min. Give students the short story and preface that
they are not looking for connections, but I
want them to be thinking of any motif or
theme they see in the short story.
(or watch 20min video - Netflix)
10 min.
Discuss the theme and motifs in “The Cask of
Almontiado”
 Masquerade
 Fortunado
Discuss the motifs in The Great Gatsby
 locations
 colors
 displays of wealth
Wrap-Up
Finish Eggs
Take turns reading the
story aloud
Take notes and participate
in the discussion
Differentiation: By incorporating short stories I have reached to different learners
who may not always enjoy reading a long novel. By giving students the option to
watch a movie I am also reaching to the more visual learns and maybe ELL learns
because it often times easier to understand context with images.
Assessment: I will collect the Egg Activity and grade them on completion and
thoughtfulness. It will be worth 15 points.
Homework: Ch. 8
Writing Prompt - Obsession
Is obsession ever a good thing? How can obsession lead to
downfall? How can it work in your favor?
Definitions for the Doc Cam
 Theme:
A unifying or dominant idea, motif, etc., as in a work of art.
 Motif:
A distinctive and recurring form, shape, figure, etc., in adesign, as in a
painting or on wallpaper.
 Symbol:
A word, phrase, image, or the like having a complex of associated
meanings and perceived as having inherent value.
(Definitions from dictionary.com)
The Cask of Amontillado - Edgar Allen Poe
The thousand injuries of Fortunato I had borne as I best could, but when he
ventured upon insult I vowed revenge. You, who so well know the nature of my soul,
will not suppose, however, that gave utterance to a threat. At length I would be
avenged; this was a point definitely, settled --but the very definitiveness with which
it was resolved precluded the idea of risk. I must not only punish but punish with
impunity. A wrong is unredressed when retribution overtakes its redresser. It is
equally unredressed when the avenger fails to make himself felt as such to him who
has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to
doubt my good will. I continued, as was my in to smile in his face, and he did not
perceive that my to smile now was at the thought of his immolation.
He had a weak point --this Fortunato --although in other regards he was a man to be
respected and even feared. He prided himself on his connoisseurship in wine. Few
Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted
to suit the time and opportunity, to practice imposture upon the British and
Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was
a quack, but in the matter of old wines he was sincere. In this respect I did not differ
from him materially; --I was skilful in the Italian vintages myself, and bought largely
whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season,
that I encountered my friend. He accosted me with excessive warmth, for he had
been drinking much. The man wore motley. He had on a tight-fitting parti-striped
dress, and his head was surmounted by the conical cap and bells. I was so pleased to
see him that I thought I should never have done wringing his hand.
I said to him --"My dear Fortunato, you are luckily met. How remarkably well you
are looking to-day. But I have received a pipe of what passes for Amontillado, and I
have my doubts."
"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the
carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado
price without consulting you in the matter. You were not to be found, and I was
fearful of losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is
he. He will tell me --"
"Luchresi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own.
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an
engagement. Luchresi--"
"I have no engagement; --come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive
you are afflicted. The vaults are insufferably damp. They are encrusted with nitre."
"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been
imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado."
Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of
black silk and drawing a roquelaire closely about my person, I suffered him to hurry
me to my palazzo.
There were no attendants at home; they had absconded to make merry in honour of
the time. I had told them that I should not return until the morning, and had given
them explicit orders not to stir from the house. These orders were sufficient, I well
knew, to insure their immediate disappearance, one and all, as soon as my back was
turned.
I took from their sconces two flambeaux, and giving one to Fortunato, bowed him
through several suites of rooms to the archway that led into the vaults. I passed
down a long and winding staircase, requesting him to be cautious as he followed. We
came at length to the foot of the descent, and stood together upon the damp ground
of the catacombs of the Montresors.
The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.
"The pipe," he said.
"It is farther on," said I; "but observe the white web-work which gleams from these
cavern walls."
He turned towards me, and looked into my eves with two filmy orbs that distilled
the rheum of intoxication.
"Nitre?" he asked, at length.
"Nitre," I replied. "How long have you had that cough?"
"Ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh!"
My poor friend found it impossible to reply for many minutes.
"It is nothing," he said, at last.
"Come," I said, with decision, "we will go back; your health is precious. You are rich,
respected, admired, beloved; you are happy, as once I was. You are a man to be
missed. For me it is no matter. We will go back; you will be ill, and I cannot be
responsible. Besides, there is Luchresi --"
"Enough," he said; "the cough's a mere nothing; it will not kill me. I shall not die of a
cough."
"True --true," I replied; "and, indeed, I had no intention of alarming you
unnecessarily --but you should use all proper caution. A draught of this Medoc will
defend us from the damps.
Here I knocked off the neck of a bottle which I drew from a long row of its fellows
that lay upon the mould.
"Drink," I said, presenting him the wine. He raised it to his lips with a leer. He
paused and nodded to me familiarly, while his bells jingled.
"I drink," he said, "to the buried that repose around us."
"And I to your long life."
He again took my arm, and we proceeded.
"These vaults," he said, "are extensive."
"The Montresors," I replied, "were a great and numerous family."
"I forget your arms."
"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose
fangs are imbedded in the heel."
"And the motto?"
"Nemo me impune lacessit."
"Good!" he said.
The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with
the Medoc. We had passed through long walls of piled skeletons, with casks and
puncheons intermingling, into the inmost recesses of the catacombs. I paused again,
and this time I made bold to seize Fortunato by an arm above the elbow.
"The nitre!" I said; "see, it increases. It hangs like moss upon the vaults. We are
below the river's bed. The drops of moisture trickle among the bones. Come, we will
go back ere it is too late. Your cough --"
"It is nothing," he said; "let us go on. But first, another draught of the Medoc."
I broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes
flashed with a fierce light. He laughed and threw the bottle upwards with a
gesticulation I did not understand.
I looked at him in surprise. He repeated the movement --a grotesque one.
"You do not comprehend?" he said.
"Not I," I replied.
"Then you are not of the brotherhood."
"How?"
"You are not of the masons."
"Yes, yes," I said; "yes, yes."
"You? Impossible! A mason?"
"A mason," I replied.
"A sign," he said, "a sign."
"It is this," I answered, producing from beneath the folds of my roquelaire a trowel.
"You jest," he exclaimed, recoiling a few paces. "But let us proceed to the
Amontillado."
"Be it so," I said, replacing the tool beneath the cloak and again offering him my arm.
He leaned upon it heavily. We continued our route in search of the Amontillado. We
passed through a range of low arches, descended, passed on, and descending again,
arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather
to glow than flame.
At the most remote end of the crypt there appeared another less spacious. Its walls
had been lined with human remains, piled to the vault overhead, in the fashion of
the great catacombs of Paris. Three sides of this interior crypt were still ornamented
in this manner. From the fourth side the bones had been thrown down, and lay
promiscuously upon the earth, forming at one point a mound of some size. Within
the wall thus exposed by the displacing of the bones, we perceived a still interior
crypt or recess, in depth about four feet, in width three, in height six or seven. It
seemed to have been constructed for no especial use within itself, but formed
merely the interval between two of the colossal supports of the roof of the
catacombs, and was backed by one of their circumscribing walls of solid granite.
It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the
depth of the recess. Its termination the feeble light did not enable us to see.
"Proceed," I said; "herein is the Amontillado. As for Luchresi --"
"He is an ignoramus," interrupted my friend, as he stepped unsteadily forward,
while I followed immediately at his heels. In niche, and finding an instant he had
reached the extremity of the niche, and finding his progress arrested by the rock,
stood stupidly bewildered. A moment more and I had fettered him to the granite. In
its surface were two iron staples, distant from each other about two feet,
horizontally. From one of these depended a short chain, from the other a padlock.
Throwing the links about his waist, it was but the work of a few seconds to secure it.
He was too much astounded to resist. Withdrawing the key I stepped back from the
recess.
"Pass your hand," I said, "over the wall; you cannot help feeling the nitre. Indeed, it
is very damp. Once more let me implore you to return. No? Then I must positively
leave you. But I must first render you all the little attentions in my power."
"The Amontillado!" ejaculated my friend, not yet recovered from his astonishment.
"True," I replied; "the Amontillado."
As I said these words I busied myself among the pile of bones of which I have before
spoken. Throwing them aside, I soon uncovered a quantity of building stone and
mortar. With these materials and with the aid of my trowel, I began vigorously to
wall up the entrance of the niche.
I had scarcely laid the first tier of the masonry when I discovered that the
intoxication of Fortunato had in a great measure worn off. The earliest indication I
had of this was a low moaning cry from the depth of the recess. It was not the cry of
a drunken man. There was then a long and obstinate silence. I laid the second tier,
and the third, and the fourth; and then I heard the furious vibrations of the chain.
The noise lasted for several minutes, during which, that I might hearken to it with
the more satisfaction, I ceased my labours and sat down upon the bones. When at
last the clanking subsided, I resumed the trowel, and finished without interruption
the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with
my breast. I again paused, and holding the flambeaux over the mason-work, threw a
few feeble rays upon the figure within.
A succession of loud and shrill screams, bursting suddenly from the throat of the
chained form, seemed to thrust me violently back. For a brief moment I hesitated, I
trembled. Unsheathing my rapier, I began to grope with it about the recess; but the
thought of an instant reassured me. I placed my hand upon the solid fabric of the
catacombs, and felt satisfied. I reapproached the wall; I replied to the yells of him
who clamoured. I re-echoed, I aided, I surpassed them in volume and in strength. I
did this, and the clamourer grew still.
It was now midnight, and my task was drawing to a close. I had completed the
eighth, the ninth and the tenth tier. I had finished a portion of the last and the
eleventh; there remained but a single stone to be fitted and plastered in. I struggled
with its weight; I placed it partially in its destined position. But now there came
from out the niche a low laugh that erected the hairs upon my head. It was
succeeded by a sad voice, which I had difficulty in recognizing as that of the noble
Fortunato. The voice said-"Ha! ha! ha! --he! he! he! --a very good joke, indeed --an excellent jest. We will have
many a rich laugh about it at the palazzo --he! he! he! --over our wine --he! he! he!"
"The Amontillado!" I said.
"He! he! he! --he! he! he! --yes, the Amontillado. But is it not getting late? Will not
they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone."
"Yes," I said, "let us be gone."
"For the love of God, Montresor!"
"Yes," I said, "for the love of God!"
But to these words I hearkened in vain for a reply. I grew impatient. I called aloud -"Fortunato!"
No answer. I called again -"Fortunato!"
No answer still. I thrust a torch through the remaining aperture and let it fall within.
There came forth in return only a jingling of the bells. My heart grew sick; it was the
dampness of the catacombs that made it so. I hastened to make an end of my labour.
I forced the last stone into its position; I plastered it up. Against the new masonry I
re-erected the old rampart of bones. For the half of a century no mortal has
disturbed them. In pace requiescat!
-THE END- .
http://www.americanliterature.com/Poe/SS/TheCaskofAmontillado.html
Lesson Plan for Day Six: Thursday April 12th
Grade Level: 11th
Subject: Rhetorical Literary Analysis
Prepared By: Emily Clodfelter
Overview and Purpose:
To explain what a rhetorical literary
analysis essay entails
Objectives
Standards Addressed: 11.1.2.a.i,
11.1.2.a.vi, 11.2.2.b.i, 11.3.2.a.ii,
11.3.2.a.iv, 11.4.2.a
Teacher Guide
Student Guide
Explain in-depth what an
rhetorical literary analysis is
and what elements should go
into their essay - Go over rubric
Take notes on essay formatting
- begin outline
Audience: My eleventh grade students at WHS
Behavior: Today we will be going over a lot of dry material - I expect my students to
listen, but I will give them a mental break halfway through class for this reason.
Condition: Students have been looking at all of the elements they will need in order
to craft their literary analysis essay, here is where we will put all of the pieces of the
puzzle together.
Degree: Students should be able to show me a concrete outline of their essay before
they leave class.
Materials Needed: Individual copies of The Great Gatsby, Doc Cam, journals,
writing utensils.
Additional Notes: Students may or may not have written a rhetorical literary
analysis. Bring examples. Also review a proper outline.
Anticipatory Set: Students will need a mental break during this lecture  I will try
my hardest to make this interesting, but sometimes the material is just plain dry.
Daily Plan
Time:
Teacher Will:
10 min.
Take attendance/Read silently
15 min.
Discussion questions for ch.8
 How does Fitzgerald achieve a
melancholic mood in the beginning of
this chapter?
 How are seasons used in constructing
this novel? - think of motif
 Who is Dan Cody and what is his
significance in Gatsby’s life?
 How does Nick’s statement, “You’re
worth the whole bunch of put together”
show a change in Nick from the
beginning of the novel?
20/25 min. Review an outline
Give guidelines for a Literary Analysis:
Handout form Texas A&M - Explain that this
is an article that they can refer to, but it is
FAR more in-depth than they need to go some terms we have not discussed yet and if
they do not feel comfortable, they do not have
to use them.
5 min.
Mental Break - Build relationships with your
students and connect to them during this time
35 min.
Create you outline for your essay using the
worksheet - we have one more chapter to read
so I understand this might change, but I want
to see a solid start before you leave the
classroom - please ask me if you have
questions.
5 min.
Wrap-up: announce homework!
Students Will:
Read individual novel
silently
Respond and discuss with
peers before discussing as
a whole class
Take notes/Ask questions
Take a mental break
Begin drafting Literary
Analysis essays
Show me TOTD
Differentiation: The alone work time will allow me to help struggling individuals
more. I have also included a packet that provides for them very detailed information
they will need in order to complete the essay at home. The outline I provided is all
they will need to fill out before leaving the classroom and they will take it with them
to continue working on their essays. This way I have given the jump-start they need
to get started on their essays.
Assessment: I will use the completed outline to grade them on their participation
for the day.
Homework: Ch. 9 - First draft on your essay due on MONDAY
Analyzing Novels & Short Stories
Literary analysis looks critically at a work of fiction in order to understand how the parts
contribute to the whole. When analyzing a novel or short story, you’ll need to consider
elements such as the context, setting, characters, plot, literary devices, and themes.
Remember that a literary analysis isn’t merely a summary or review, but rather an
interpretation of the work and an argument about it based on the text. Depending on your
assignment, you might argue about the work’s meaning or why it causes certain reader
reactions. This handout will help you analyze a short story or novel—use it to form a
thesis, or argument, for your essay.
Summary
Begin by summarizing the basic plot: “Matilda by Roald Dahl is about a gifted little girl
in small town America who learns to make things move with her mind and saves her
teacher and school from the evil principal.” This will help ground you in the story. (When
you write your paper, you probably won’t include a summary because your readers will
already be familiar with the work. But if they aren’t, use a brief summary to orient them.)
Context
Research the author’s background and other work. This can give insight into the author’s
perspective and bias, as well as tell the reader what he might be commenting on. For
example, Tolkien’s The Lord of the Ringsis about a group of friends who embark on an
epic journey and fight a great war. Knowing Tolkien fought in the Battle of Somme
during World War I and that his closest friends were killed helps explain his sentiments
about war.
Other questions about context can stem from the story itself. Consider the narrator’s
personality and their role in the story. In The Outsiders, the narrator is the character of
Ponyboy Curtis and not the author, S.E. Hinton. Also consider who the narrator is
addressing. At the end of The Outsiders, for example, you find out that the entire book
was an essay for one of Ponyboy’s teachers, which makes the story seem more honest
and real.
Setting
When and where a story takes place can be profoundly significant. Consider where the
author’s story is placed and why the author made that decision. In Shakespeare’s Othello,
for example, the setting is Italy, although Shakespeare was writing in England. He set his
play elsewhere, in part, so he could make social commentary about England without
incurring the wrath of English rulers.
Remember, many stories would be irretrievably altered if their setting were different and
setting is, therefore, integral for interpreting the story’s meaning. For instance, the setting
for Faulkner’s work—the American South after the Civil War—is essential to his overall
message. Faulkner’s characters are people who can’t move on, and through them he
suggests that the South similarly can’t get past the Civil War and the wrongs of slavery.
Plot
Story lines usually follow patterns like those in the example below. Identifying essential
plot points will help you to analyze, interpret, and explain the story.
Main Problem (Conflict): The plot hinges on some major problem, often a conflict
between characters or an obstacle that must be overcome.
Ex. In Roald Dahl’s novel Matilda, Matilda’s parents neglect her and the Trunchbull is
evil to everyone, including Miss Honey. The Trunchbull is Miss Honey’s aunt and
cheated her out of her inheritance.
Climax: The high point of the action, when the conflict or problem could either be
resolved or cause a character’s downfall.
Ex. Matilda uses her telekinetic powers to scare the Trunchbull into believing the ghost
of Miss Honey’s father is haunting her. The Trunchbull runs away, leaving Miss Honey
her house and belongings.
Resolution: The conflict or problem is solved and normalcy or a new order is restored.
Ex. Matilda’s family flees so her dad can escape prison, but Matilda gets to stay and live
with Miss Honey.
Characters
Characters are the driving force behind stories, both major characters and minor ones,
and authors use them to broadcast their most important messages. You won’t be able to
analyze every character, but pick out several important ones to consider.
First, describe the character for yourself; next, consider why the character was portrayed
in that way. The following are some guiding questions:

What are the character’s main personality traits? Why did the author give him
these traits?
Ex. In the Harry Potter series by J.K. Rowling, the character Dumbledore is wise, calm,
courteous, protecting, encouraging, powerful, and ambitious. As the story progresses, his
faults and imperfections appear. Rowling creates Dumbledore as a force to protect and
guide Harry.

What is the character’s role in the story? Is she the hero? The bad guy? A
secondary character? Why did the author give her this role?
Ex. Dumbledore is the classic “teacher wizard” figure, in that he is all wise and has
magical powers that others do not. People have an instinctive trust in this type of
character; he voices many of Rowling’s most important themes.

What are the character’s morals or ethics? Why does the author give him those?
Ex. Dumbledore’s morality is based on compassion, understanding, and respect for all. If
the respected, powerful teacher says something, Rowling’s readers, and Harry, will be
more likely to believe it.

Why does the character do what she does? Why did the author make her act that
way?
Ex. Readers find out that Dumbledore was not born wise and all knowing, but was
ambitious and egotistical when he was young. His wisdom was gained through pain and
tragedy. This illustrates Rowling’s theme that a normal, flawed person, with courage and
love, can save the world.

What is the character’s relationship to other characters and why? Why did the
author create the relationships?
Ex. To Cornelius Fudge, Dumbledore is a threat because of his power and influence. In
being frightened and resentful of Dumbledore, Fudge shows himself to be a weak man
who blames others for his mistakes—Rowling’s comment on government.
Literary Devices
Various literary devices help convey meaning or create a mood. Look for these in a story
to identify key points and their contribution to the author’s overall meaning. The
following are a few common literary devices.
Allusion. An indirect reference to another artistic work or person, event, or place (real or
fictitious). The author makes the allusion with the intention that the well-known object
will create an association with the new object in the reader’s mind. For example, the title
of William Faulkner’s novel The Sound and the Fury is an allusion to a line in
Shakespeare’s Macbeth—a futile speech made by an embittered man who has ruined his
life. Alluding to that speech in the title helps Faulkner set the tone for his story of a
family in ruins.
Foil. A character used to contrast a second, usually more prominent character in order to
highlight certain qualities of the more prominent character. In Shakespeare’s Hamlet,
Fortinbras is a foil for Hamlet in that he is unhesitating in action and war-like in nature;
in contrast, Hamlet is thoughtful, analytical, and careful.
Foreshadowing. The use of hints or clues to suggest what will happen later in a literary
work. For example, in Shakespeare’s Romeo and Juliet, Juliet tells her nurse to find
Romeo’s name: “Go ask his name. If he be married, my grave is like to be my weddingbed.” This foreshadows the danger of Romeo’s name being Montague and of Juliet’s
death because of their marriage.
Irony. An implied discrepancy between what is said and what is meant. There are three
kinds of irony: verbal irony is when an author says one thing and means something else;
dramatic irony is when an audience perceives something that the characters don’t know;
and situational irony is a discrepancy between the expected result and the actual result.
For example, in Macbeth, the three witches recount the prophecies that must be fulfilled
for Macbeth to fall. He therefore believes he is invincible—ironic because these
prophecies cause his downfall.
Symbolism. The use of an object or action to mean something more than its literal
meaning. For example, in Faulkner’s The Sound and the Fury, one of the principle
characters, Caddy, falls and stains her white dress when she’s a child. The stained dress
symbolizes (and foreshadows) her later loss of purity. A character can also be equated
with an object throughout a work, another form of symbolism. In Eudora Welty’s Delta
Wedding, an aunt is repeatedly seen carrying an empty bag, which symbolizes her
childlessness.
Themes
Themes are big ideas that authors comment on throughout a work using tools such as
context, setting, and characters. Common themes are good vs. evil, human nature,
religion, social structure, authority, coming-of-age, human rights, feminism, racism, war,
education, sex, friendship, love, compassion, and death. Most books deal with multiple
themes, some more obvious than others. Identifying an author’s themes gives you a
starting place for your thesis. It gives you a general topic. However, a theme is general.
You have to dig a little deeper to identify the author’s statement or attitude about that
topic.
Ex. Theme T.H. White’s The Once and Future King deals with the theme of authority,
among others.
Ex. Specific Theme Other Arthurian writers associate King Arthur’s greatness with
military glory and valorous deeds. White is different in that he presents Arthur as a
political innovator and implies that king is not great because of an aptitude for war, but
because of his ability to balance government strength and social justice.
Tying It Together
Once your analysis is complete, develop a thesis that makes an arguable claim about the
text. It should connect one of the themes you’ve identified with specific proof from the
text (i.e. setting, context, plot, characters, symbolism, allusions, etc.). Sometimes, you
will also use the support of other analysts or literary experts.
Ex. Thesis In The Once and Future King, White shows that the ideal leader is not one of
military strength, but one who balances government power and social independence. He
achieves this through his satire of the knighthood, his depiction of Merlin’s philosophical
experiments, and his portrayal of Arthur.
Remember that a thesis for a literary analysis should NOT merely:



Summarize the plot (“The Once and Future King tells the story of the legendary
King Arthur.”)
Announce a general theme (“The Once and Future King gives important ideas
about leadership.”)
Offer a review of the book (“The Once and Future King is a literary classic that
everyone should read.”)
Before you begin to write, check the assignment and follow your instructor’s specific
guidelines
Article Obtained at:
http://writingcenter.tamu.edu/2005/how-to/academic/analyzing-novels-shortstories/
Rhetorical Literary Essay
As you final assignment for The Great Gatsby, I want you to write me a
convincing rhetorical literary analysis of the novel. In order to do this I want you to
focus on a literary element that stuck out to you, for instance; symbolism - the green
light. I want you to first tell me what the green light represents to the characters,
then how it affects the overall plot, and finally how it is relevant to the historical
perspective that we have looked at the novel with. Remember you are looking at the
text of the novel, the overall concept and theme, you are NOT summarizing the novel
- I already read it, I know what happens  You are showing me that you understand
how author’s use symbolism, theme, motif, irony, etc. to craft their literature in
manner that means more than to simply tell a story.
You are making an argument as to why that literary element you have chosen
effects the novel in the manner in which you think it does. Please do not say, “It
means this because you said it did…” - tell me in your own words what you have
learned, not what I have already said. This essay will be worth 50 points and will
count towards your texts and essays portion of your grade. I have attached the
rubric to this packet.
You will have all of next week to workshop and craft your essay. Please use
your time in the classroom with your peers and me wisely. Go fourth and WRITE!
Outline Guide!
1. The introduction consists of 1 paragraph.
• Capture the reader’s interest. (An effective way to do this is to explain why you
chose your thematic topic. Use personal anecdotes and vivid images. Allow your
voice to emerge.)
• State the thesis and projected plan in the last 1-2 sentences.
2. The body consists of 3 paragraphs.
• Begin each paragraph with a topic sentence that states an idea related to the
thesis. Organize your essay around ideas relating to your critical lens.
• Develop your ideas fully. In each section, integrate quotations and textual details.
Analyze all examples, probing to the underlying ideas. Be sure to provide clear topic
sentences and transitions to guide your reader.
3. The conclusion is a single paragraph that recalls the thesis and discusses the
relevance and significance of the ideas that you have explored. Explain what you
have learned about your novel and your critical theory. Put your own personal
stamp on this paragraph. Explain how these books relate to your life and to America
today.
The last sentence must have impact.
4. You will be judged on the strength of your argument, the examples you use from
the text, and the power of your writing. You are expected to write a clear,
interesting, and convincing essay. Voice and tone should be evident. Syntax should
be varied and sophisticated. Figures of speech should appear. Mechanics should be
flawless 
5. Type everything properly—MLA style with the page number following the quote
in parentheses. (You should have a total of 3 pages max (1” margins, double spaced,
Times New Roman, 12 font)
Rhetorical Literary Analysis Essay: Outline
I. Attention Getter:
A. Background of literary element you have chosen:
B. Thesis:
II. Main point of first paragraph:
A. Quotes or examples to illustrate argument:
B. Explanation of how the quote/example supports of your thesis:
C. Quotes or examples to illustrate argument:
D. Explanation of how the quote/example supports of your thesis:
E. How does the previous paragraph relate to your thesis?
III. Main point of second paragraph:
A. Quote or example to illustrate argument:
B. Explanation of how the quote/example supports of your thesis:
C. Quotes or examples to illustrate argument:
D. Explanation of how the quote/example supports of your thesis:
E. How does the previous paragraph relate to your thesis?
IV. Main point of third paragraph:
F. Quote or example to illustrate argument:
G. Explanation of how the quote/example supports of your thesis:
H. Quotes or examples to illustrate argument:
I. Explanation of how the quote/example supports of your thesis:
J. How does the previous paragraph relate to your thesis?
V. Conclusion: Application to Society—what do we learn about human nature,
society, culture, history, or individuals from these texts?
Outline barrowed from:
http://arapahoe.littletonpublicschools.net/Portals/7/Language%20Arts/Ackerman
/Honors/Literary%20Analysis%20Essay%20Outline.pdf
Lesson Plan for Day Seven: Monday April 16th
Grade Level: 11th
Subject: How to Properly Workshop
Prepared By: Emily Clodfelter
Overview and Purpose:
To model for students the proper way to
peer edit and workshop.
Standards Addressed: 11.1.1.e, 11.1.2.a.i,
11.1.2.a.vi, 11.2.1.a.i, 11.2.1.c.ii, 11.2.2.a.i,
11.2.2.a.ii. 11.2.2.a.i - 11.2.2.a.v,
11.3.2.a.ii, 11.3.2.a.iv, 11.3.2.b.i – iii,
11.3.2.b.v – vi.
Teacher Guide
Objectives
Make it a goal to have your
students working effectively
together in workshop groups to
provide and receive proper
feedback
Student Guide
Work with your peers to edit
each other’s’ first drafts of
your literary analysis essay
Audience: My eleventh graders at Windsor High School.
Behavior: I expect that my students may not want to participate in peer editing, but
that they will want to be working with their friends, so I can use this to my
advantage.
Condition: Students will have done peer editing before in their academic careers
but maybe not all of them have received proper instruction on how to do this
efficiently.
Degree: I predict that most of my students will work well with one another, but that
they may not be providing the feedback that their peers need, so I will be grading
the editor on their editing skills.
Materials Needed: Desks groups together, 1st drafts of their literary analyses, blue
pens, Doc. Cam, journals.
Additional Notes: Be sure to monitor each work-shopping groups’ work for
efficiency and effectiveness. If a student refuses to work in a group or has a
particular exception, they may edit their own paper, but they will be graded on this
as well.
Anticipatory Set: Students may take a while to get on task so it is important to
maintain the atmosphere that this is not time to work with your friends, it is a time
to work on your paper and that they will be removed from any group if there are not
being a positive and assisting group member. I also predict that more than one
student will not have their first draft. They will spend the time working in the
computer lab/handwriting their first draft.
Daily Plan
Time:
Teacher Will:
10 min.
Take attendance/Read silently
10 min.
Students Will:
Read individual novel
silently
Journal
5 min.
Give journal prompt about the final
chapter/closing comments on The Great Gatsby
Share journal entry/ the end of The Great
Gatsby
Ask students what they are writing their essays
about/What they want their workshop group to
look for in their essays – Write responses on
Doc Cam (leave up throughout work shopping)
Discuss what does constructive criticism means
5 min.
Provide workshop guidelines and expectations
Follow along
5 min.
Break students up into work shopping groups
30 min.
Work shopping
Get into groups and move
desks into those groups
Workshop constructively
5 min.
Wrap-up/ Give homework: Second Draft due
Wed
10 min.
10 min.
Share journal entries
Share their essay topics
and what they want
people to look for in their
essays
Put desks back
Differentiation: By allowing my students the opportunity to work either in a group
or not I am allowing for them to work at the pace they want to. By scaffolding the
expectations I for them while they are work shopping, I have set up the guidelines
for the students that it is necessary for.
Assessment: When students turn in their final essays they will have to have all
drafts attached. I will look for who edited their drafts and grade that person on
their ability to informally communicate with their peers in a respective and effective
manner. I will also give 10 pts. participation credit for having your first day
prepared.
Homework: Second draft
Writing Prompt – The Great Gatsby Ch. 9
Why did Nick take care of Gatsby’s funeral? Who attended?
Why is this important?
Workshop Expectations
Have these on your desk as you peer workshop. 
1. Be prepared.
2. Workshop with anyone and everyone, the more eyes that
reach your paper before my eyes do, the better off you are.
3. Circulate your papers between the four of you at your table.
4. If you have questions about someone’s paper, write them at
the bottom of the essay. This will help the writer to
understand where there is confusion in the essay.
5. If you see a grammatical error and you are positive there is
an error, circle it and write a G next to the circle. The writer
will have to look up the mistake before their next draft.
6. You are editing for context and concept not errors.
7. If you find a line that is well written please circle it and give
them kudos.
8. If you find a sentence that needs rewording, underline it.
9. Be sure you are constructive with your comments; we are
here to support each other, not to compete for the best essay.
Remember we are ALL learning, even me. 
Lesson Plan for Day Seven: Wednesday April 18th
Grade Level: 11th
Subject: Work shopping
Prepared By: Emily Clodfelter
Overview and Purpose:
To model for students the proper way to
peer edit and workshop.
Standards Addressed: 11.1.1.e,
11.1.2.a.vi, 11.2.1.a.i, 11.2.1.c.ii, 11.2.2.a.i
- 11.2.2.a.v, 11.3.2.a.ii, 11.3.2.a.iv-v,
11.3.2.b.i – iii, 11.3.2.b.v – vi.
Teacher Guide
Objectives
Allow to let your students use
this time to refine their second
draft and come to you for
comments or questions
Student Guide
Work shop efficiently
Audience: My eleventh graders at Windsor High School.
Behavior: I will let me students use the computer lab as necessary during this time
and to peer edit with anyone they choose to, including me.
Condition: These students will be working on their final draft so they will need to
have a lot of in class time to prepare the best quality product they can.
Degree: Hopefully by this point every student will have a least a draft of their essay,
for those of the students that do not have a draft at this point, we will be talking
after class.
Materials Needed: 2nd drafts of their literary analyses, and revised 1st draft,
journals, Doc. Cam.
Additional Notes: Some students may be reluctant to work with a peer; I will be
extra diligent to make sure they receive some feedback from me.
Anticipatory Set: Student will want to be in the computer lab to be with their
friends, but if they have not edited their second draft they will not be allowed in the
computer lab. I have to see an edited copy of a reasonable second draft before they
will be allowed to go to the computer lab.
Daily Plan
Time:
Teacher Will:
10 min.
Take attendance/Read silently
10 min.
10 min.
10 min.
5 min.
30 min.
5 min.
Give journal prompt addressing concepts of the
next unit/What is something you believe in
Share journal entry
Ask students where they are in the writing
process/how their second draft is coming
Provide guidelines for the days lesson/ If you
have a completed edit second draft after you
check with me you may move to the computer
lab to type your essay.
Work shopping/Typing
Wrap-up/ Give homework: Final Draft due
Friday
Students Will:
Read individual novel
silently
Journal
Share journal entries
Discuss
Get essays out on desk
Work with a peer to edit
your second draft or
come to me.
Return to classroom to
check out with me
Differentiation: The time in the classroom to work on this essay provides students
the time and resources they need in order to complete the assignment to the best of
their individual abilities.
Assessment: I will grade students on participation and preparedness.
Homework: Final draft of your literary analysis essay
Writing Prompt - Activism
What do you believe in? What issue in today’s society strikes a
chord with you; recycling, driving age, oil fracking, racism?
Explain to me why it means so much.
Lesson Plan for Day Seven: Friday April 20th
Transitional Lesson
Grade Level: 11th
Subject: Manipulating Language
Prepared By: Emily Clodfelter
Overview and Purpose:
To understand how language is fluid and
can be manipulated as Fitzgerald does to
create influence or meaning
Standards Addressed: 11.1.2.a.vi,
11.2.1.a.i, 11.2.1.a.iii, 11.2.1.b.iii,
11.2.1.c.ii, 11.2.1.d.i, 11.2.2.a.i 11.2.2.a.v, 11.2.2.b.iii, 11.3.2.b.i – iii,
11.4.2.c, 11.4.2.e, 11.4.2.a
Teacher Guide
Objectives
Have your students write
narratives using the techniques
we discussed while studying
The Great Gatsby to convey a
message
Student Guide
Write an effective “rant”
Audience: My eleventh graders at Windsor High School.
Behavior: Teenagers have a lot to “complain” about. This activity should interest
them because of the freedom of speech it invokes.
Condition: We will have just completed reading The Great Gatsby; this day will be
devoting to transitioning from this unit into the next. The next unit is about
persuasive writing. We will use the language concepts we discussed while reading
The Great Gatsby to formulate persuasive rants.
Degree: I expect that the majority of students will be very interested in
participating in this activity because it allows for them to speak their mind in a safe
environment while, evoking their unknown persuasive voice.
Materials Needed: Journals, Doc. Cam, writing utensils, Copies of the
Coloradoan/Internet access to
http://www.coloradoan.com/section/OPINION&template=cover
Additional Notes: Make sure to monitor exactly how “touchy” the topics are that
students bring up for discussion
Anticipatory Set: Students will want to participate in this discussion because they
will be relevant topics and real world experiences.
Daily Plan
Time:
Teacher Will:
10 min.
Take attendance/Read silently/Collect Final
Drafts
10 min.
Give journal prompt
Students Will:
Read individual novel
silently/Have final draft
on your desk
Journal
10 min.
Share journal entry
Share journal entries
10 min.
Discuss the concepts of effect persuasive
writing
Look at examples of good and bad persuasive
writing. – Discuss which one is more effective
and why?
Take notes
20 min.
20 min.
10 min.
Have students choose a topic of interest perhaps
the one for last classes’ journal entry and have
them write a persuasive rant (1 page) about why
this is an important issue
Wrap-up/ Discuss the rants/share if desired
Look at individual copies
of different rant examples
- I will provide these to
monitor appropriateness
Chose an important issue
and respond with a rant
you would want to
publish to the public
Share rants
Differentiation: Students are allowed to choose individual topics and to work
individually
Assessment: I will grade students on participation I will also collect their rants as
they walk out the door simply to provide them with feedback on their persuasive
ability and to pre-assess before beginning the next unit.
Homework: Enjoy your weekend, good job completing your essays!
Writing Prompt – Using Language Smartly
In The Great Gatsby we saw how Fitzgerald crafted his word
choice to convey his perspective of the 1920’s. Believe it or not
people do this every day when they chose to rant about
something or share their opinion. We craft our language to
reach particular audiences. Fitzgerald wrote to the public
about the major issues in the 1920s through a beautiful fiction
novel. Reflecting on you last journal entry – how would you
craft your language or word choice to write about this issue to
your Mom, your Grandma, your siblings, or to the President?
How would you change your tone, or language to reach your
audience? Why?
Culminating Assessment
Literary Analysis Essay
Ugh! I know…an essay! For the past three weeks we have been looking at
different modernist writers; one in particular, F. Scott Fitzgerald. While reading The
Great Gatsby we have also been observing how Fitzgerald captures the lifestyle of
the 1920s through symbolism, motif and theme. I want you to construct a literary
analysis of one of the ways in which he using a literary element to convey a culture
norm or the 1920s. For instance, what does the green light symbolize? How often
do we see it? What part of the 1920’s culture does this light represent? What does
the light represent for the plot of the novel? How else could Fitzgerald have
depicted that specific cultural norm if he had not chosen to use a green light?
Your opinion may vary slightly about what the green light represents
compared to my opinion and that is fine, you need to be able to justify why you think
it represents what you do by using textual evidence to support your thesis.
Imagine yourself as a literary anthropologist; you have been assigned to look
back at the era in literacy that captured the culture and exemplify how it has
done so. Your audience of dedicated followers to your column are anxiously
awaiting to see how you capture the work and talent of F. Scott Fitzgerald and
his ability to capture the Roaring 20’s – do not let them down.
How you should outline your essay:
Introduction: Include an attention getter, your thesis and how you will prove your
thesis. Do not summarize…I already read the book.
Paragraph One: Your first piece of evidence should be your topic sentence, and
then argue how this piece of evidence supports your thesis. (Cite this evidence in
MLA format)
Paragraph Two: Your second piece of evidence. (Cite this evidence in MLA format)
Paragraph Three: Your last piece of evidence. (Cite this evidence in MLA format)
Concluding Paragraph: Final argument, why do you think this motif or symbol, is
important to the overall plot. How might the plot have changed without this
symbol? What else could represent the same cultural norm?
Literary Analysis of The Great Gatsby Rubric
Teacher Name: Ms. Clodfelter
Student Name: ________________________________________
2Approaching
Standards
1 - Below
Standards
4 - Above
Standards
3 - Meets
Standards
Focus or
Thesis
Statement
The thesis statement
names the topic of
the essay and
outlines the main
points to be
discussed.
The thesis
statement names
the topic of the
essay.
The thesis
statement outlines
some or all of the
main points to be
discussed but does
not name the topic.
The thesis
statement does not
name the topic
AND does not
preview what will
be discussed.
Evidence and
Examples
All of the evidence
and examples are
specific, relevant and
explanations are
given that show how
each piece of
evidence supports
the author\'s position.
Most of the
evidence and
examples are
specific, relevant
and explanations
are given that
show how each
piece of evidence
supports the
author\'s position.
At least one of the
pieces of evidence
and examples is
relevant and has an
explanation that
shows how that
piece of evidence
supports the
author\'s position.
Evidence and
examples are NOT
relevant AND/OR
are not explained.
Grammar &
Spelling
Author makes no
errors in grammar or
spelling that distract
the reader from the
content.
Author makes 1-2
errors in grammar
or spelling that
distract the reader
from the content.
Author makes 3-4
errors in grammar
or spelling that
distract the reader
from the content.
Author makes more
than 4 errors in
grammar or spelling
that distract the
reader from the
content.
Transitions
A variety of
thoughtful transitions
are used. They
clearly show how
ideas are connected
Transitions show
how ideas are
connected, but
there is little
variety
Some transitions
work well, but some
connections
between ideas are
fuzzy.
The transitions
between ideas are
unclear OR
nonexistent.
Closing
paragraph
The conclusion is
strong and leaves
the reader solidly
understanding the
writer\'s position.
Effective restatement
of the position
statement begins the
closing paragraph.
The conclusion is
recognizable. The
author\'s position
is restated within
the first two
sentences of the
closing paragraph.
The author\'s
There is no
position is restated conclusion - the
within the closing
paper just ends.
paragraph, but not
near the beginning.
CATEGORY
Rubric created through
http://rubistar.4teachers.org/index.php?screen=NewRubric&module=Rubistar
Score
Self-Evaluation
After much time and reflection I have realized that for the past two weeks I
have poured my soul into this project. I have followed the guidelines to the best of
my ability and frankly, I enjoyed it. Not to say I wish I had more free time but the
reality of it is, this is how I will spend the rest of my life – constructing units and
assessments. If I do not enjoy building a unit plan, I will have a long road ahead of
me. After much reflection I have come to terms with the fact that I simply enjoy
creating lesson plans. The hardest part for me was reaching standards. They are a
pain, to put it simply. I would do without them if I could, but of course I can’t so I
must comply.
For my introduction I included all of the elements on the Unit Plan
instruction sheet and have used a list format in order to make sense of all of the
units. I asked my match-up teacher Lisa Wennerth what her year out line looked
like and that is how I developed my introduction. I used a lot of the concepts that
she provided me with in order to organize the chaos that will soon consume my life.
The UbD template was a struggle for me, but I do believe that I accomplished
what I was supposed to. I tried to include all of the elements in a comprehensible
way, but I simply find structuring my unit in this manner rather confusing and will
have to find my own template if the school I work at uses UbD. This type of
organizing just does not work with my brain. I am more of a “I know my
destination, so let’s figure out how to get there together” kind of teacher, than a
“here is my destination now come with me as I drag you there”. Hopefully I will be
able to find the balance necessary for this.
The rationale was really hard for me because I am teaching someone else’s
class. Of course the lessons are my own, but justifying why I was teaching
modernism when I was, was kind of hard. I understand why, but being able to apply
research and theories in my rationale felt almost impossible because I did not come
up with the idea by myself. I was assisted by Lisa Wennerth as she is my co-teacher
and I am teaching the content that she wants me to, just in my own ways.
My lead lesson was an idea that I found online by, Valeria Arbiuz. Ironically
enough, after I established this as my lead lesson, Lisa Wennerth sent me the very
same intro activity. Obviously the motto, “if it’s not broke, don’t fix it” rings true in
academic circles. I thought this would be a great introduction activity to both
activate prior knowledge and intrigue my students to want to learn more. This
activity also requires for my students to use 21st century skills while finding the
information they need.
I constructed my following lesson plans by assessing what my students
needed in order to get where I wanted them to go. I hope that I did a good job in
constructing them into an organized a logical manner, but maybe it only makes
sense to me. I tried to incorporate multiple types of learning, like visual, audio, etc;
while also trying to reach multitudes of literacy. I want to give my students a wide
variety of texts to show them the diversity of language and communication and how
their own abilities can fit into the world of the written word.
The culminating assessment was established by Lisa Wennerth. At this time
in the year my juniors will be required to write a literary analysis essay.
Considering how much we will be talking about different literary elements while
reading The Great Gatsby it only seemed fitting to have them analyze the structure
of the novel as a culminating assessment. I chose to give them more of an authentic
assignment to demonstrate how writing is used in the everyday world. This could
either be a hit with my students or a complete flop, but I thought the literary
anthropologist was a good idea and different from the usual.
After everything is said and done I believe that I deserve a firm A on this
assignment. I put a lot of time and effort into creating a well written and
comprehensible unit plan. I am just starting my teaching career so no, my unit plan
will not be perfect, but it is completely authentic. I took my time with every piece of
this unit plan and have grown immensely as a teacher while working on it. I have
probably taught myself more in the past three weeks than I have learned in my
entire college career. I hope that I have done a decent job in exemplify where I have
come as a learner to where I am going as a teacher. Hopefully I am on the right
track.