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L.8.3Common CoreELALanguageGrade 8

L.8.3: Using Active and Passive Voice and the Conditional and Subjunctive Mood for Effect

In plain English: L.8.3 is the Common Core grade 8 ELA standard that asks students to use what they know about language when they write, speak, read or listen. Its focus is verbs chosen for effect: the active or passive voice to put the actor or the action first, and the conditional or subjunctive mood to express uncertainty or describe something contrary to fact.

Use knowledge of language and its conventions when writing, speaking, reading, or listening.

  1. a.Use verbs in the active and passive voice and in the conditional and subjunctive mood to achieve particular effects (e.g., emphasizing the actor or the action; expressing uncertainty or describing a state contrary to fact).
Common Core State Standards for English Language Arts & Literacy · Domain: Language Standards · Cluster: Knowledge of Language · Official standard

01

Lesson Plan

50-65 min

Overview

Students learn to choose verbs for their effect. The standard names two choices. Voice: the active voice puts the actor first, and the passive voice puts the action or its receiver first, with the actor moved to the end or left out. Mood: the conditional mood (would, could, might) expresses possibility and uncertainty, and the subjunctive mood (if I were, I ask that she be) describes wishes, demands and states contrary to fact. The grade 8 grammar standard, L.8.1, asks students to form these verbs correctly; L.8.3 asks why a writer or speaker would pick one over another, and what a reader or listener should notice.

Students read two excerpts from Jack London's eyewitness report of the 1906 San Francisco earthquake and fire, published in Collier's magazine two weeks after the disaster, in which voice decides whether the earthquake, the fire or the city holds the spotlight. They also revise an invented letter to the editor and listen to an invented campaign speech, so that the skill is practiced in reading, writing, speaking and listening.

Learning Objectives

By the end of this lesson, students will be able to:

  • Tell the active voice from the passive voice, and name the actor or notice that it has been left out
  • Choose the active or passive voice to emphasize the actor or the action, and explain the effect of the choice
  • Use the conditional mood to express uncertainty and the subjunctive mood to describe wishes, formal requests and states contrary to fact
  • Explain how voice and mood shape meaning in a published text and in a speech
  • Revise their own writing and speaking so that each voice and mood is chosen on purpose

Prior Knowledge Required

Students should already be comfortable with:

  • Choosing precise, concise language and cutting wordiness L.7.3
  • Varying sentence patterns and keeping style and tone consistent L.6.3
  • Forming the perfect verb tenses, such as had left and has been L.5.1
  • Finding the subject and the verb of a sentence

Lesson Procedure

50-65 minutes of class time across 5 phases.

  1. Warm-Up5-10 minutes

    Warm-Up Prompt

    "Read two headlines about the same event: (1) Dog Pulls Hiker from Icy River. (2) Hiker Pulled from Icy River. Which headline gives the dog the credit? Why might a newspaper choose the other one? Then finish this sentence: If I were the dog, I would ..."

    Collect answers. Headline 1 names the dog first as the doer; headline 2 puts the hiker first and never mentions the dog, which fits a story about the hiker's recovery. Tell students that the difference is called voice. Then point out the verb in their sentence ending: If I were the dog uses were, not was, because nobody in the room is a dog. That is the subjunctive mood. Today students learn to choose voice and mood on purpose, and to notice when other writers and speakers do.

  2. Direct Instruction15-20 minutes

    Part 1: Voice names who is in the spotlight. A verb's voice shows whether the subject does the action or receives it. In the active voice, the subject is the actor, the one doing the action: The eighth graders built the stage. In the passive voice, the subject is the receiver, the thing the action is done to, and the verb is a form of be plus a past participle (a verb form such as built, taken or painted): The stage was built by the eighth graders. The actor moves into a by-phrase at the end, or disappears: The stage was built in one weekend. Not every be + word is passive. In The stage is ready and The builders are gone, nothing is done to the subject, so there is no passive (Diagram 1).

    Part 2: Choosing a voice for its effect. The start of an English sentence gets the reader's attention, and the end gets a second, strong stress. Choose the active voice to emphasize the actor: to give credit, to assign responsibility, or to make writing direct and energetic. Choose the passive voice to emphasize the action or its receiver: when the actor is unknown, obvious or unimportant, when the receiver is the topic, or to save a surprising actor for the end of the sentence, where the by-phrase gets extra stress. Watch for one misuse: a passive with no actor can hide who is responsible. When a writer drops the actor, ask whether the reader needs to know who did it.

    Part 3: Mood names how sure the speaker is. A verb's mood shows the speaker's attitude toward what the sentence says. The indicative mood states facts and asks ordinary questions: The library opens at eight. The conditional mood uses would, could or might to tell what may happen, often under a condition in an if-clause: If the buses run late, the concert could start at 7:30. It expresses possibility and uncertainty. The subjunctive mood describes things that are wished for, demanded or contrary to fact (not true right now). It has three common forms: were for any subject in a wish or an untrue condition (If I were a faster runner, I would join the track team; I am not faster), the plain base form of the verb after words like ask, insist, recommend and it is essential + that (The nurse recommends that he rest, not rests), and had + a past participle for a past that did not happen (If we had left earlier, we would have caught the bus; we did not leave earlier). Formal writing may flip that last condition and drop if: Had we left earlier means If we had left earlier.

    Part 4: Using the choices when you write, speak, read and listen. Writers and speakers choose voice and mood on purpose: the conditional sounds careful and honest about what is not known; the subjunctive sounds formal when it makes a request, and imaginative when it pictures what is not true; the active voice sounds confident. Readers and listeners use the same knowledge in reverse. Ask: Who is the actor, and is it named? Is this a fact, a possibility or an imagined situation? What does the choice make me notice (Diagram 2)?

    • Active voice: emphasizing the actor

      The robot that won the county contest was built by Ms. Ruiz's eighth graders. The school newsletter wants to praise the students.

      Result: Active revision: Ms. Ruiz's eighth graders built the robot that won the county contest. The students now open the sentence as its subject, so the credit goes to them first. The passive version starts with the robot and saves the builders for the end; it fits a story about the robot.

    • Passive voice: emphasizing the action when the actor is unknown

      Someone broke two windows in the science wing on Saturday night. The principal's note to families.

      Result: Passive revision: Two windows in the science wing were broken on Saturday night. Nobody knows who did it, so "someone" adds nothing. The passive puts the damage, the part families need to know, at the front. The same passive would be a problem if the principal knew who did it and was hiding it.

    • Conditional mood: expressing uncertainty

      Indicative: The storm will close the ferry tomorrow.

      Result: Conditional revision: If the storm reaches the coast tonight, the ferry might not run tomorrow. The indicative states a certainty that no one has yet. The conditional might not run, with the condition in the if-clause, tells readers what depends on what and how sure the writer is.

    • Subjunctive mood: describing a state contrary to fact

      I am not the principal, so I can't move lunch to noon.

      Result: Subjunctive revision: If I were the principal, I would move lunch to noon. Were signals that the condition is not true: the speaker is not the principal. The result clause uses the conditional would move. The same were appears in wishes: I wish the gym were open on Sundays (it is not).

    • Subjunctive mood in a formal request (speaking)

      A student speaking to the school board: We think the board should make the library stay open until five.

      Result: Formal revision: We ask that the board keep the library open until five. After ask that, the verb takes its base form, keep, not keeps. The subjunctive sounds formal and firm, which suits a speech to a board; the first version sounds like a casual opinion.

  3. Guided Practice15 minutes

    Introduce the text: on April 18, 1906, a great earthquake struck San Francisco, and fires burned much of the city for three days. The magazine Collier's asked the writer Jack London, who lived about forty miles away, to report what he saw; his article appeared on May 5, 1906. Words to know: conflagration (a huge, destructive fire), nabobs (very rich people), lurid (glowing a harsh, fiery red), contrivances (clever devices). In pairs, students highlight active verbs in one color and passive verbs in another, name each actor or write "not named," and fill in the chart. Model the first row together.

    The earthquake shook down in San Francisco hundreds of thousands of dollars’ worth of walls and chimneys. But the conflagration that followed burned up hundreds of millions of dollars’ worth of property. There is no estimating within hundreds of millions the actual damage wrought. Not in history has a modern imperial city been so completely destroyed. San Francisco is gone. Nothing remains of it but memories and a fringe of dwelling-houses on its outskirts. Its industrial section is wiped out. Its business section is wiped out. Its social and residential section is wiped out. The factories and warehouses, the great stores and newspaper buildings, the hotels and the palaces of the nabobs, are all gone. Remains only the fringe of dwelling-houses on the outskirts of what was once San Francisco.

    Within an hour after the earthquake shock the smoke of San Francisco’s burning was a lurid tower visible a hundred miles away. And for three days and nights this lurid tower swayed in the sky, reddening the sun, darkening the day, and filling the land with smoke.

    On Wednesday morning at a quarter past five came the earthquake. A minute later the flames were leaping upward. In a dozen different quarters south of Market Street, in the working-class ghetto, and in the factories, fires started. There was no opposing the flames. There was no organization, no communication. All the cunning adjustments of a twentieth century city had been smashed by the earthquake. The streets were humped into ridges and depressions, and piled with the débris of fallen walls. The steel rails were twisted into perpendicular and horizontal angles. The telephone and telegraph systems were disrupted. And the great water-mains had burst. All the shrewd contrivances and safeguards of man had been thrown out of gear by thirty seconds’ twitching of the earth-crust.

    Jack London, The Story of an Eye-Witness (the opening) (1906). Public domain (published 1906). Source text.
    Verb chart for the opening of "The Story of an Eye-Witness" (teacher key in the last two columns)
    Verb (paragraph)Active or passive?ActorEffect (teacher key)
    shook down (1)ActiveThe earthquakeThe first destroyer opens the article as the doer.
    burned up (1)Activethe conflagration (the great fire)A second, bigger destroyer, also the doer: the fire did far more damage than the shaking.
    has ... been so completely destroyed (1)Passivenot namedThe city, the receiver, is now the topic; the actors were just named.
    is wiped out (1, three times)Passivenot namedThe repeated verb, with a new section each time, hammers home how complete the loss is.
    is gone (1)Not passivenone: nothing is done to the cityGone describes the city's state, like an adjective.
    had been smashed by the earthquake (3)Passivethe earthquake, in a by-phraseThe city's "cunning adjustments" come first; the earthquake gets the stressed end of the sentence.
    were twisted, were disrupted (3)Passivenot namedA list of damaged systems keeps the spotlight on what broke.

    Ask: London opens with two active verbs, then switches to passive ones. Why? (Once readers know the two actors, the earthquake and the fire, the passive keeps the spotlight on what was lost.) Why does is gone not count as passive? (Nothing is done to the city in that phrase; gone tells its state.) If students ask why is wiped out does count, since it also tells the state the fire left behind: grammar books sometimes call this a stative passive, and both readings are defensible. Treat it as passive here because wipe out takes a receiver (something, the fire, wiped each section out), while go never takes one, so is gone can only be be + an adjective. Point out the one active verb in the paragraph 3 list, the great water-mains had burst: burst here has no receiver, and a verb with no receiver cannot be made passive.

  4. Independent Practice10-15 minutes

    Students revise the invented letter to the editor below. Its writer wants the city to fix a faded crosswalk, but several verbs work against that purpose. Students find seven verbs to change and three passive verbs to keep, and for each change name the voice or mood they chose and its effect.

    To the Editor:

    Last month, a seventh grader was nearly hit by a car at the corner of Elm Street and Park Avenue. The crosswalk there was painted years ago, and now its lines can barely be seen. A request for a new crosswalk was sent to the city in March, but nothing has been done.

    Drivers speed down Elm Street every morning. A crossing guard will solve the problem. If there was a guard at the corner, students would feel safer. I wish the city was as worried about us as our parents are.

    Our student council asks that the city repaints the crosswalk before school starts in the fall. Mistakes were made, and now they need to be fixed.

    Sincerely,
    Maya Okafor, student council secretary

    Written for this page (an invented student letter; the streets, the council and the writer are invented), Draft for revising: a letter to the editor about a crosswalk. Original passage written for this page.

    Teacher key. Keep three passives: was nearly hit by a car keeps the student, the person readers care about, at the front of the letter; was painted years ago and can barely be seen focus on the crosswalk, and who painted it does not matter. Change seven verbs: (1) A request ... was sent to the city becomes Our student council sent the city a request in March (active: the council gets credit for acting); (2) nothing has been done becomes the city has done nothing (active: names who is responsible); (3) A crossing guard will solve the problem becomes A crossing guard could solve the problem (conditional: a hopeful prediction, not a promise); (4) If there was a guard becomes If there were a guard (subjunctive: there is no guard); (5) I wish the city was becomes I wish the city were (subjunctive: a wish contrary to fact); (6) asks that the city repaints becomes asks that the city repaint (subjunctive base form after asks that); (7) Mistakes were made, and now they need to be fixed becomes The city let the crosswalk fade, and now the city needs to fix it (active: the passive hid the actor the letter is written to).

  5. Closure5 minutes

    Exit ticket: Write one sentence about today's class in the active voice and rewrite it in the passive voice. Then write one sentence that begins If I were. Label which version of the first sentence you would use in a thank-you note, and why.

    Teacher note on the texts: The London excerpts are quoted exactly from the 1906 magazine, with its spellings (débris, fire-fighters, Eye-Witness). The article describes a real disaster in which many people died; the second excerpt mentions the dead. London uses ghetto in its early-1900s sense of a crowded, poor district, here the working-class neighborhoods south of Market Street; the word first named the Jewish quarter of Venice, and today it can carry stereotypes, so present it as a historical usage and do not use it to describe people or places. Nabobs is a mocking word for the very rich, from nawab, the title of a governor in Mughal India. Historians now know the fire's damage and death toll were larger than early reports said, and that some dynamiting spread the fire; London was writing two weeks after the event.

    For the quiz: Questions 8-11 and 15 use the second London excerpt below, from later in the article. Paragraphs 1-2 describe Wednesday night, the first night of the fire; paragraphs 3-4 are the article's last two paragraphs, about Thursday night on Van Ness Avenue, a wide street where fire-fighters tried to stop the fire, and about the days after. Words to know: enumeration (a list, one by one), vestiges (traces), the Carnegie medal fund (a fund that gives awards for heroism), the Presidio (an army post in San Francisco). Questions 12-14 and 16 use the campaign speech transcript after it.

    Wednesday night saw the destruction of the very heart of the city. Dynamite was lavishly used, and many of San Francisco’s proudest structures were crumbled by man himself into ruins, but there was no withstanding the onrush of the flames. Time and again successful stands were made by the fire-fighters, and every time the flames flanked around on either side, or came up from the rear, and turned to defeat the hard-won victory.

    An enumeration of the buildings destroyed would be a directory of San Francisco. An enumeration of the buildings undestroyed would be a line and several addresses. An enumeration of the deeds of heroism would stock a library and bankrupt the Carnegie medal fund. An enumeration of the dead—will never be made. All vestiges of them were destroyed by the flames. The number of the victims of the earthquake will never be known. South of Market Street, where the loss of life was particularly heavy, was the first to catch fire.

    [...]

    The great stand of the fire-fighters was made Thursday night on Van Ness Avenue. Had they failed here, the comparatively few remaining houses of the city would have been swept. Here were the magnificent residences of the second generation of San Francisco nabobs, and these, in a solid zone, were dynamited down across the path of the fire. Here and there the flames leaped the zone, but these fires were beaten out, principally by the use of wet blankets and rugs.

    San Francisco, at the present time, is like the crater of a volcano, around which are camped tens of thousands of refugees. At the Presidio alone are at least twenty thousand. All the surrounding cities and towns are jammed with the homeless ones, where they are being cared for by the relief committees. The refugees were carried free by the railroads to any point they wished to go, and it is estimated that over one hundred thousand people have left the peninsula on which San Francisco stood. The Government has the situation in hand, and, thanks to the immediate relief given by the whole United States, there is not the slightest possibility of a famine. The bankers and business men have already set about making preparations to rebuild San Francisco.

    Jack London, The Story of an Eye-Witness (Wednesday night and the last stand; the middle of the article is left out) (1906). Public domain (published 1906). Source text.

    Good morning, Hillcrest Middle School. My name is Dev Mehta, and I am running for eighth-grade class president.

    Last spring, our class trip to the aquarium was canceled. We were told that not enough money had been raised. That is true, but it is not the whole story. The fundraiser was planned in May, two weeks before the trip, and no flyers were ever sent home.

    If I were class president, I would start fundraising in September. With nine months instead of two weeks, we could raise enough for the trip, and we might even have money left for the spring dance. I cannot promise that every plan will work. I can promise this: I will ask that every fundraiser be announced a month ahead.

    I wish I were a better speaker. I am not, but I am a good planner. Vote for Dev on Friday.

    Written for this page (an invented speech; the school, the speaker and the trip are invented), Transcript: a class president campaign speech. Original passage written for this page.

Differentiation Strategies

For Struggling Students

  • Give a two-question card for voice: "Who did it?" and "Is that doer the subject?" If the doer is missing or comes after by, the verb is passive
  • Start with short sentences that have a named actor before moving to passives that leave the actor out
  • Provide a mood sentence frame card: "If I were ..., I would ..." and "I ask that ... + base verb"

For Advanced Students

  • Have students find three passive verbs in a science textbook and three in a news article, and compare why each writer chose them
  • Ask students to rewrite a paragraph of the London opening entirely in the active voice, naming every actor, and explain what the paragraph loses or gains
  • Have students write a short speech in which the mood shifts on purpose, from fact to possibility to a wish, and read it aloud

Assessment Guidance

What to Look For

Check that students explain the effect of a choice, not only name the voice or mood: "passive" is a label, "the passive keeps the damage in the spotlight because the actor is already known" is an explanation. Look for students who can tell a fair passive (actor unknown or unimportant) from one that hides responsibility, and who use were for contrary-to-fact conditions and wishes while keeping was for real past possibilities. In speaking and listening, look for students who notice when a speaker leaves out an actor or presents a guess as a fact.

02

Classroom Activities

3 Activities

1

Headline Switch

15 minPairs

Each pair gets 8 headline cards, each describing a news event and a purpose. Partners write an active headline and a passive headline for the event, then choose the one that fits the purpose on the card and explain the effect (emphasizing the actor or the action).

Headline Cards

  • 1. A seventh grader found a lost wallet with $300 in it and returned it. Purpose: praise the student.
  • 2. Someone painted graffiti on the library wall overnight; no one knows who. Purpose: report the damage.
  • 3. The city council voted to close the public pool for the summer. Purpose: show who made the decision.
  • 4. Road workers dug up a 2,000-year-old coin; their names were not released. Purpose: focus on the coin.
  • 5. The eighth-grade band won first place at the state festival. Purpose: celebrate the band.
  • 6. Doctors tested a new flu vaccine on 3,000 volunteers. Purpose: focus on the test.
  • 7. A delivery truck hit a fire hydrant and flooded Main Street. Purpose: show what caused the flood.
  • 8. The district will tear down the old gym in June. Purpose: focus on the gym.

Procedure

  • Partner A writes the active headline and partner B the passive one; they switch roles on every card
  • Together they circle the headline that fits the purpose and write one sentence explaining the effect
  • Teacher key: the active headline fits cards 1, 3, 5 and 7, where the purpose is about the actor (Seventh Grader Returns Lost Wallet With $300; City Council Votes to Close Pool; Eighth-Grade Band Wins State Festival; Delivery Truck Hits Hydrant, Floods Main Street). The passive headline fits cards 2, 4, 6 and 8, where the actor is unknown or less important than the action (Library Wall Covered in Graffiti Overnight; 2,000-Year-Old Coin Found During Road Work; New Flu Vaccine Tested on 3,000 Volunteers; Old Gym to Be Torn Down in June). Four cards each.

Discussion Questions

  • On card 3, what would a reader lose if the headline said only "Public Pool Closed for Summer"?
  • On card 4, why does the passive make more sense than naming "road workers"?
2

Fair or Evasive? Passive Detectives

15 minGroups of 3

Each group gets 6 notice cards, each with a passive sentence and the situation it comes from. Groups decide whether each passive is fair (the actor is unknown, obvious or unimportant) or evasive (it hides who is responsible), then rewrite every evasive sentence in the active voice.

Notice Cards

  • 1. A plaque on a museum: This museum was built in 1912.
  • 2. A friend returning a borrowed phone: Your phone got dropped, and the screen was cracked.
  • 3. A contest announcement: This year's winning essay was written by an eighth grader.
  • 4. A theater's email after it sold some seats twice: Mistakes were made in the ticket sale.
  • 5. A sign at a state park: This trail is closed after heavy rain.
  • 6. A student to a teacher: The homework wasn't finished because the instructions were lost.

Procedure

  • One student reads the card, one names the actor (or says "not named"), and one decides fair or evasive; roles rotate
  • For each evasive card, the group writes an active version that names the actor
  • Teacher key: fair, cards 1, 3 and 5 (the builder does not matter on a plaque; card 3 names the actor but saves it for the end, where it surprises; the park staff who closed the trail are obvious). Evasive, cards 2, 4 and 6, where the speaker is the actor: I dropped your phone, and I cracked the screen; We made mistakes in the ticket sale and sold some seats twice; I didn't finish the homework because I lost the instructions. Three of each.

Discussion Questions

  • Card 2 uses got dropped. Is that still a passive? How can you tell?
  • When might an evasive passive be kind rather than dishonest?

Modification for Distance Learning

Groups sort the cards on a shared slide into two columns and type their active rewrites beside the evasive cards.

3

What If? Speech Rounds

15-20 minGroups of 4

Groups practice mood in speaking and listening. One student draws a what-if card and speaks for 30-45 seconds; the other three listen for the conditional and subjunctive verbs and report what each one did: expressed uncertainty, described something contrary to fact, or made a formal request.

What-If Cards

  • 1. If you were principal for one day, what would you change?
  • 2. What might happen if our school day started at 10:00 a.m.?
  • 3. If our town had no cars, how would people get to school?
  • 4. What could happen if 30 centimeters of snow fell tomorrow?
  • 5. Propose a new school rule to the principal, starting with "I propose that" or "It is important that."
  • 6. If you had lived in San Francisco in April 1906, what would you have carried away from the fire?

Procedure

  • Speaker: speak for 30-45 seconds without notes; use at least three conditional or subjunctive verbs
  • Listener 1 tallies conditional verbs (would, could, might); listener 2 tallies subjunctive verbs (were, had + past participle in an untrue condition, a base verb after that); listener 3 writes one sentence the speaker said and names its effect
  • Teacher key: cards 1, 3 and 6 call for contrary-to-fact conditions (If I were principal; If our town had no cars; If I had lived in 1906) with conditional results; cards 2 and 4 call for the conditional of uncertainty (might, could); card 5 calls for the subjunctive of a formal request (I propose that every class have, not has)

Discussion Questions

  • Which speaker sounded most certain, and which verbs made them sound that way?
  • On card 6, why is If I had lived correct, and not If I lived?

Challenge Variation

The speaker must switch moods on purpose three times in the speech, from a fact to a possibility to a wish, and listeners must catch each switch.

03

Diagrams & Visual Aids

2 diagrams

Diagram 1: Where the Spotlight Falls in Active and Passive Voice

Where the spotlight falls: active and passive voice Active voice: the actor is in the spotlight ACTOR The storm ACTION flooded RECEIVER the gym. Passive voice: the receiver is in the spotlight RECEIVER The gym ACTION was flooded ACTOR (optional) (by the storm). The first box, the start of the sentence, gets the reader's attention. Passive = a form of be + a past participle. The by-phrase can be dropped.
In the active voice, the actor (the storm) is the subject and gets the reader's first attention. In the passive voice, the receiver (the gym) moves to the front, the verb becomes a form of be + a past participle (was flooded), and the actor moves into an optional by-phrase or disappears.

Diagram 2: Three Moods and How Sure the Speaker Is

Three moods: how sure is the speaker? Indicative states a fact The gym flooded on Monday. Effect: certainty Conditional would, could, might If it rains again, the gym might flood. Effect: possibility, uncertainty Subjunctive wish, demand, not true We ask that the city fix the drain. Effect: not true, or formal Contrary to fact: If the drain were fixed, the gym would stay dry. (It is not fixed.)
The indicative states a fact, the conditional (would, could, might) states a possibility, and the subjunctive states a wish, a demand or something contrary to fact. The bottom line shows a contrary-to-fact condition: were in the if-clause and a conditional result.

04

Homework Assignment

~30 min

L.8.3 Homework: Choosing Voice and Mood for Effect

Directions: Complete all six problems. Use Diagrams 1 and 2 as checklists. For Problem 3 you need a textbook, a news article or a website you read this week.

Part 1: Voice for Effect (Problems 1-3)

  1. For each situation, choose the version that fits the purpose, say whether it is active or passive, and explain the effect: (a) A school newsletter thanking volunteers: Parent volunteers repainted the gym. or The gym was repainted. (b) A police report when the thief is unknown: Somebody stole three bicycles from the rack. or Three bicycles were stolen from the rack. (c) A museum label: This clay pot was made about 2,500 years ago. or An unknown potter made this clay pot about 2,500 years ago. (d) A team captain apologizing to the coach: The equipment was left out in the rain. or I left the equipment out in the rain.
  2. Rewrite each sentence in the other voice, then explain what the new version emphasizes: (a) The tornado tore the roof off the barn. (b) The final score was announced by the principal at the assembly. (c) Our class planted forty oak seedlings along the creek. (d) The prize money was donated by a local bakery.
  3. Find three passive verbs in a textbook, a news article or a website you read this week. Copy each sentence, name the actor or write "not named," and explain why you think the writer chose the passive. Is any of the three evasive?

Part 2: Mood for Effect (Problems 4-6)

  1. Complete each sentence with the right form of the verb in parentheses, name the mood and explain its effect: (a) If my grandmother ___ (be) here, she would know the recipe. (She lives in another state.) (b) The librarian asked that every student ___ (return) the atlases by Friday. (c) If the bridge closes for repairs, we ___ (take) the ferry, but we are not sure yet. (d) I wish our school ___ (have) a swimming pool. (It does not.)
  2. Revise each sentence for the effect given: (a) Our team will win the championship. Show that you are not sure. (b) I am not a pilot, so I can't fly us to Hawaii. Describe the situation as contrary to fact. (c) Students should bring permission slips. Turn it into a formal requirement that begins The principal requires that. (d) The storm will knock out the power tonight. Show that it depends on the storm's path.
  3. Write a short speech (100-150 words) asking your school board for one change. Use at least one active verb that gives credit or names responsibility, one passive verb that keeps the focus on an action, one conditional verb that admits uncertainty, one subjunctive verb for something contrary to fact and one subjunctive verb in a formal request. Label each, read the speech aloud to a listener, and ask which sentence sounded most certain.

Rubric

CriterionFull Credit (2 pts)Partial Credit (1 pt)No Credit (0 pts)
Choosing VoiceEvery choice fits its purpose, with the effect explainedChoices fit, but effects are not explainedChoices do not fit the purpose
Rewriting VoiceAll rewrites correct in form, with the new emphasis namedMost rewrites correctRewrites keep the same voice or change the meaning
Choosing MoodCorrect verb forms and moods, with effects explained; revisions match each effectMost forms correct, or effects missingMoods confused or verb forms incorrect
SpeechAll five verb choices present, labeled and effective; speech read aloudThree or four choices presentFewer than three choices, or not labeled

05

Quiz: 20 Questions

Interactive, with answers

Instructions

Questions 8-11 and 15 use the second excerpt from "The Story of an Eye-Witness" in Closure, and Questions 12-14 and 16 use the campaign speech transcript right after it; paragraph numbers are shown beside each passage. The other questions use new sentences. Your score updates as you answer, and Reset quiz clears everything so you or your students can try again.

Multiple choice: pick an option to check it. Short answer: write your answer, then reveal the model answer.

0 of 20 answered · 0 correct

  1. Question 1 of 20 · Multiple Choice

    Which sentence is in the passive voice?

  2. Question 2 of 20 · Multiple Choice

    A reporter wants readers to notice who deserves credit for a rescue. Which sentence fits best?

  3. Question 3 of 20 · Multiple Choice

    A lab report says, The samples were heated to 80 degrees Celsius for ten minutes. Why is the passive a good choice here?

  4. Question 4 of 20 · Multiple Choice

    Jordan forgot to lock the bike shed, and a bike was taken. Which sentence lets Jordan avoid admitting his part?

  5. Question 5 of 20 · Multiple Choice

    Which sentence describes a state contrary to fact?

  6. Question 6 of 20 · Multiple Choice

    Which sentence expresses uncertainty?

  7. Question 7 of 20 · Multiple Choice

    Choose the verb that completes the sentence in standard formal English: The coach recommended that each player ___ a water bottle to practice.

  8. Question 8 of 20 · Multiple Choice

    In paragraph 1 of the second London excerpt, many of San Francisco's proudest structures were crumbled by man himself into ruins. Why does London use the passive voice with the actor at the end?

  9. Question 9 of 20 · Multiple Choice

    In paragraph 2, London writes that an enumeration of the buildings destroyed would be a directory of San Francisco. What does the conditional would be do?

  10. Question 10 of 20 · Multiple Choice

    After three sentences with would, paragraph 2 says that an enumeration of the dead will never be made. What is the effect of this change?

  11. Question 11 of 20 · Multiple Choice

    In paragraph 3, London writes, Had they failed here, the comparatively few remaining houses of the city would have been swept. What does this sentence tell the reader?

  12. Question 12 of 20 · Multiple Choice

    In paragraph 2 of the campaign speech, Dev says, We were told that not enough money had been raised and The fundraiser was planned in May. What is the effect of these passive verbs?

  13. Question 13 of 20 · Multiple Choice

    In paragraph 3 of the speech, why does Dev say If I were class president instead of If I was class president?

  14. Question 14 of 20 · Multiple Choice

    Which sentence from the speech expresses uncertainty rather than a promise?

  15. Question 15 of 20 · Short Answer

    Paragraph 4 of the second London excerpt uses many passive verbs, such as are being cared for by the relief committees and were carried free by the railroads, and it is estimated. Its last sentence is active: The bankers and business men have already set about making preparations to rebuild San Francisco. Explain what the passive verbs emphasize, why London might write it is estimated, and what effect the final active sentence has.

  16. Question 16 of 20 · Short Answer

    In paragraph 2 of the speech, Dev says, The fundraiser was planned in May, two weeks before the trip, and no flyers were ever sent home. Rewrite the sentence in the active voice, naming an actor (for example, last year's class council). Then explain which version better fits a campaign speech, and why.

  17. Question 17 of 20 · Short Answer

    Explain the difference in meaning between these two sentences: (a) If Maria was at the meeting, she heard the news. (b) If Maria were at the meeting, she would hear the news. Name the mood of each if-clause.

  18. Question 18 of 20 · Short Answer

    An online store sent two versions of an email about a late order. Version A: We regret that your order was delayed and that the wrong size was shipped. Version B: Our warehouse packed your order late and shipped the wrong size. We are sorry. Which version takes more responsibility? Explain how voice creates that effect, and say when a company might prefer the other version.

  19. Question 19 of 20 · Short Answer

    A fire broke out overnight in a bakery on Pine Street. The cause is not yet known. Firefighters carried two cats out of the building. Write a three-sentence news brief: use the passive voice where the actor is unknown, the active voice to give the firefighters credit, and the conditional mood to report something that is not yet certain. Label each sentence.

  20. Question 20 of 20 · Short Answer

    You will give a one-minute speech asking the school board to add a late bus for students in after-school clubs. Write three sentences for it: one in the conditional mood that admits uncertainty, one in the subjunctive mood that describes a situation contrary to fact, and one in the subjunctive after a verb such as ask or propose. Then explain which sentence a listener would hear as the most certain, and why.

0 of 20 answered · 0 correct

06

Frequently Asked Questions

10 Questions

What does L.8.3 mean?

L.8.3 means that eighth graders choose verbs for their effect when they write and speak, and notice those choices when they read and listen.

Its one part, L.8.3a, names two choices: the active or passive voice, to emphasize the actor or the action, and the conditional or subjunctive mood, to express uncertainty or describe a state contrary to fact.

What is the difference between L.8.1 and L.8.3?

L.8.1 is about forming these verbs correctly; L.8.3 is about choosing them for a purpose.

Under L.8.1, a student writes a correct passive or uses were in a wish. Under L.8.3, the student explains why a passive fits a science procedure better than an apology, or why a speaker says might instead of will.

Is the passive voice wrong?

No. The passive voice is correct English and the better choice in some situations.

It fits when the actor is unknown, obvious or unimportant, or when the receiver of the action is the topic. It becomes a problem when it makes writing wordy or hides who is responsible, as in Mistakes were made.

When should students use the active voice?

Use the active voice when the reader needs to know who did the action.

The active voice gives credit (Our class raised $600), assigns responsibility (I broke the vase) and makes most narratives and arguments direct and lively. It is the usual default in student writing.

What is the conditional mood?

The conditional mood uses would, could or might to say what may happen or would happen under a condition.

It expresses possibility and uncertainty (The game might be postponed) and gives the result of an imagined condition (If I had a dog, I would walk it every day).

Why do we say "if I were" and not "if I was"?

Formal English uses the subjunctive were for any subject when a condition or wish is contrary to fact.

If I were you and I wish she were here describe things that are not true. Was is still correct when the condition may really be true: If I was rude yesterday, I apologize.

What does "a state contrary to fact" mean in L.8.3?

It means a situation the speaker knows is not true, described as if it were.

Writers use it to imagine, to wish and to show what did not happen: If the bridge were open, we would be home by now. The official example pairs it with expressing uncertainty, which the conditional mood does.

How is L.8.3 assessed?

It is usually checked through revision and explanation tasks rather than by naming verb forms.

Students choose the revision that fits a purpose, rewrite a sentence in the other voice or mood, and explain the effect of a writer's choice in a passage. Writing and speaking tasks show whether they use the choices on their own.

How can parents help with voice and mood at home?

Point out the choices in everyday language and ask what they do.

News headlines, product apologies and sports reports are full of passives; ask "Who did it, and why isn't that person named?" Play "If I were ..." games at dinner, and ask how a weather forecast shows it is not sure.

How does L.8.3 connect to high school?

In high school, L.9-10.3 and L.11-12.3 ask students to apply their knowledge of language to reading and writing in more demanding ways.

Grades 9-10 add following a style manual, and grades 11-12 ask students to vary syntax, the order of words in sentences, for effect and to study it in complex texts. Choosing voice and mood on purpose in grade 8 prepares for both.