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RI.6.10Common CoreELAReading Informational TextGrade 6

RI.6.10: Reading Literary Nonfiction in the Grades 6-8 Band, Step by Step

In plain English: RI.6.10 is the Common Core grade 6 ELA standard that sets how hard the literary nonfiction students read should be by the end of the year: memoirs, essays and other true writing in the grades 6-8 text complexity band. Students read such texts proficiently, with scaffolding as needed for the hardest texts in the band.

By the end of the year, read and comprehend literary nonfiction in the grades 6—8 text complexity band proficiently, with scaffolding as needed at the high end of the range.

Common Core State Standards for English Language Arts & Literacy · Domain: Reading Standards for Informational Text · Cluster: Range of Reading and Level of Text Complexity · Official standard

01

Lesson Plan

55-65 min

Overview

RI.6.10 does not name one skill. It sets a level: by the end of grade 6, students read literary nonfiction, true writing about real people and events that is written with a storyteller's or essayist's craft, such as memoirs, essays, biographies and travel writing, in the grades 6-8 text complexity band. The Common Core groups the grades into bands and describes how hard the texts in each band should be. Sixth graders read in the 6-8 band proficiently, with scaffolding (support that the teacher can remove later, such as a word list or guiding questions) as needed for the hardest texts in the band.

This lesson teaches four reading moves (Preview, Pause and Paraphrase, Puzzle Out Words, Find the Point) and then removes the support step by step, a plan called gradual release: "I do, we do, you do." The teacher models the moves on Lucy Larcom's memory of going to work in a cotton mill at age eleven. Pairs use them on Charles Eastman's memory of his uncle's lessons. Each student reads Eastman's account of the wild rice harvest alone. For homework, students read the opening of a nature essay by John Burroughs, the hardest text on the page, with a word list and guiding questions, because the standard allows scaffolding at the high end of the band.

Learning Objectives

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

  • Preview a work of literary nonfiction by its author, date and real subject before reading closely
  • Pause after each paragraph and paraphrase it (say it in their own words) accurately
  • Work out unfamiliar words from context before using a glossary or dictionary
  • State the point of a passage and tell what happened apart from what the writer thinks about it
  • Read a new grade-level passage without support, and name the support they need for a harder one

Prior Knowledge Required

Students should already be comfortable with:

  • Reading informational texts at the high end of the grades 4-5 band independently RI.5.10
  • Finding the main ideas of a text and how key details support them RI.5.2
  • Using context as a clue to the meaning of a word L.5.4
  • The words memoir (a true story told by the person who lived it) and first person (the writer says "I")

Lesson Procedure

55-65 minutes of class time across 5 phases.

  1. Warm-Up5-10 minutes

    Warm-Up Prompt

    "Here is a sentence a woman wrote in 1889 about a job she started at age eleven: 'So I went to my first day's work in the mill with a light heart.' What do you think 'with a light heart' means? What makes you think so? Then write one question you would want answered before reading the rest."

    Take several answers. Most students work out that "a light heart" means happily, without worry, from the word "light" and from how people talk about a "heavy heart." Point out what they just did: they used what they already knew and the words around the phrase, instead of stopping. Collect their questions (What mill? Why was an eleven-year-old working?). Tell students that good readers of true stories ask exactly these questions, and that today they will learn four moves for reading older nonfiction, watch them used, use them with a partner, and then use them alone.

  2. Direct Instruction15 minutes

    The four moves (hand out the bookmark and leave the moves on the board):

    • Preview. Before reading, read the title, the author, the date and any note. Ask: who is writing, when, about what real experience, and looking back from how far?
    • Pause and Paraphrase. After each paragraph, stop and say what it said in your own words, in one sentence. If you cannot, reread before going on.
    • Puzzle Out Words. For a hard word, look at the words around it first: an example, a contrast ("but"), or a description often gives the meaning. Use the word list or a dictionary only if the sentence still does not make sense.
    • Find the Point. Ask what the writer wants you to understand. In a memoir, separate what happened from what the writer, looking back, thinks about it.

    Context note (read it aloud as part of Preview): Lucy Larcom was born in Beverly, Massachusetts, in 1824. After her father died, her mother moved the family to Lowell, a new factory town on the Merrimack River, and ran a boarding house for young women who worked in the cotton mills. The money was not enough. Just before this passage, Lucy heard someone say, "The children will have to leave school and go into the mill." She wrote this memoir as an adult and published it in 1889. Words to know: mill-agent (the manager of the mill); bobbins (spools that the spinning machines wind thread onto); spinning-frames (machines that twist cotton into thread). Read the passage aloud while students follow, and think aloud through the four moves.

    There were many pros and cons between my mother and sisters before this was positively decided. The mill-agent did not want to take us two little girls, but consented on condition we should be sure to attend school the full number of months prescribed each year. I, the younger one, was then between eleven and twelve years old.

    [...]

    But her difficulties were increasing, and I thought it would be a pleasure to feel that I was not a trouble or burden or expense to anybody. So I went to my first day's work in the mill with a light heart. The novelty of it made it seem easy, and it really was not hard, just to change the bobbins on the spinning-frames every three quarters of an hour or so, with half a dozen other little girls who were doing the same thing. When I came back at night, the family began to pity me for my long, tiresome day's work, but I laughed and said,--

    "Why, it is nothing but fun. It is just like play."

    And for a little while it was only a new amusement; I liked it better than going to school and "making believe" I was learning when I was not. And there was a great deal of play mixed with it. We were not occupied more than half the time.

    [...]

    There were compensations for being shut in to daily toil so early. The mill itself had its lessons for us. But it was not, and could not be, the right sort of life for a child, and we were happy in the knowledge that, at the longest, our employment was only to be temporary.

    Lucy Larcom, A New England Girlhood, Outlined from Memory, chapter VII, "Beginning to Work" (Passage 1: going into the mill; two cuts marked [...]) (1889). Public domain (published 1889). Source text.
    • Preview: who is looking back, and from how far?

      Before reading closely, what do the source line and the context note tell you?

      Result: A true story told by the person who lived it, in the first person. Larcom went into the mill at eleven, in the 1830s, and published this in 1889, so she is looking back more than fifty years. Expect two voices: the child who lived it and the adult who judges it.

    • Pause and Paraphrase: paragraph 2

      Say paragraph 2 in one sentence of your own.

      Result: Lucy wanted to help her mother, so she started work happily, and the job, changing bobbins "every three quarters of an hour or so" with other little girls, was easy. Check: the paraphrase keeps the reason ("not a trouble or burden"), the feeling ("a light heart") and the job, and leaves out nothing important.

    • Puzzle Out Words: "compensations"

      Paragraph 5 begins "There were compensations for being shut in to daily toil so early." What are compensations?

      Result: The next sentence gives an example of one: "The mill itself had its lessons for us." Then "But" turns to the bad side: it was not "the right sort of life for a child." So compensations are good things that make up for something hard. The context was enough; no dictionary needed.

    • Find the Point: the child and the adult

      Compare paragraph 3 with paragraph 5. What does Larcom want readers to understand?

      Result: The child says, "Why, it is nothing but fun. It is just like play." The adult writes that mill work "was not, and could not be, the right sort of life for a child." The point: the work felt like play to an eleven-year-old, but looking back, Larcom judges that children should not have been doing it, even though it taught her things.

    Teacher tip. Let students watch you pause at the [...] marks and explain them: they show that words have been left out of the passage. A reader keeps going and checks that the next paragraph still connects.

  3. Guided Practice15 minutes

    Pairs read Passage 2 with the bookmark and the prompts below. Context note: Charles Eastman (1858-1939), a Santee Dakota whose Dakota name was Ohiyesa, was born in Minnesota. As a young child he was called Hakadah. After a war between the Dakota and the United States in 1862, his family fled to Canada, where his grandmother and his uncle raised him in the traditional Dakota way until he was fifteen. He later became a doctor and a writer, and published this memoir of his childhood in 1902. Words to know: teepee (a cone-shaped tent of poles and hides); disciplinarian (a person who insists that rules be followed); yonder (over there). There is no teacher think-aloud this time: pairs work out other words from context and ask you only after they have tried. Circulate and hear from each pair at least once.

    My uncle, who educated me up to the age of fifteen years, was a strict disciplinarian and a good teacher. When I left the teepee in the morning, he would say: “Hakadah, look closely to everything you see”; and at evening, on my return, he used often to catechize me for an hour or so.

    “On which side of the trees is the lighter-colored bark? On which side do they have most regular branches?”

    It was his custom to let me name all the new birds that I had seen during the day. I would name them according to the color or the shape of the bill or their song or the appearance and locality of the nest--in fact, anything about the bird that impressed me as characteristic. I made many ridiculous errors, I must admit. He then usually informed me of the correct name. Occasionally I made a hit and this he would warmly commend.

    He went much deeper into this science when I was a little older, that is, about the age of eight or nine years. He would say, for instance:

    “How do you know that there are fish in yonder lake?”

    “Because they jump out of the water for flies at mid-day.”

    He would smile at my prompt but superficial reply.

    “What do you think of the little pebbles grouped together under the shallow water? and what made the pretty curved marks in the sandy bottom and the little sand-banks? Where do you find the fish-eating birds? Have the inlet and the outlet of a lake anything to do with the question?”

    He did not expect a correct reply at once to all the voluminous questions that he put to me on these occasions, but he meant to make me observant and a good student of nature.

    Charles A. Eastman (Ohiyesa), Indian Boyhood, chapter II, "An Indian Boy's Training" (Passage 2: the uncle's questions) (1902). Public domain (published 1902). Source text.
    1. Preview. Teacher note: pairs should notice that Eastman, like Larcom, is an adult looking back on his childhood, and that the passage is about how he was taught, not about one single day. Ask what "he would say" and "he used often to" tell them (these things happened again and again).
    2. Pause and Paraphrase (paragraph 3). Teacher note: a good paraphrase is that the uncle had the boy name each new bird he saw by its color, beak, song or nest, then told him the real name and praised him when he was right.
    3. Puzzle Out Words. Teacher note: "catechize" (paragraph 1) is explained by paragraph 2, a string of questions, so it means to quiz someone closely. "Superficial" (paragraph 7) is explained by paragraph 8: the uncle asks about pebbles, marks in the sand, fish-eating birds and the inlet, all the deeper signs the boy missed, so a superficial answer stays on the surface.
    4. Find the Point. Teacher note: the last paragraph states it: the uncle "meant to make me observant and a good student of nature." Ask pairs which earlier sentence the point connects to ("Hakadah, look closely to everything you see").

    Close with one question: which move did your pair need most? Pairs often choose Puzzle Out Words, because Eastman uses a few long words among short, clear sentences. Tell students that next they will read another passage by Eastman alone, with a context note and nothing else.

  4. Independent Practice15 minutes

    Each student reads alone, with the bookmark but no prompts and no word list. Context note: Another part of Eastman's Indian Boyhood. When his people, the Dakota, lived in Minnesota, many families spent late summer at lakes where wild rice grows: a tall grass that grows in shallow water, whose seeds are eaten as grain. Students write a one-sentence paraphrase on a sticky note after each paragraph and mark each word they worked out from context. Collect the sticky notes; they show who is ready to read without support. The quiz uses this passage.

    The wild rice harvesters came in groups of fifteen to twenty families to a lake, depending upon the size of the harvest. Some of the Indians hunted buffalo upon the prairie at this season, but there were more who preferred to go to the lakes to gather wild rice, fish, gather berries and hunt the deer. There was an abundance of water-fowls among the grain; and really no season of the year was happier than this.

    [...]

    On the appointed day all the canoes were carried to the shore and placed upon the water with prayer and propitiatory offerings. Each family took possession of the allotted field, and tied all the grain in bundles of convenient size, allowing it to stand for a few days. Then they again entered the lake, assigning two persons to each canoe. One manipulated the paddle, while the foremost one gently drew the heads of each bundle toward him and gave it a few strokes with a light rod. This caused the rice to fall into the bottom of the craft. The field was traversed in this manner back and forth until finished.

    This was the pleasantest and easiest part of the harvest toil. The real work was when they prepared the rice for use. First of all, it must be made perfectly dry. They would spread it upon buffalo robes and mats, and sometimes upon layers of coarse swamp grass, and dry it in the sun. If the time was short, they would make a scaffold and spread upon it a certain thickness of the green grass and afterward the rice. Under this a fire was made, taking care that the grass did not catch fire.

    When all the rice is gathered and dried, the hulling begins. A round hole is dug about two feet deep and the same in diameter. Then the rice is heated over a fire-place, and emptied into the hole while it is hot. A young man, having washed his feet and put on a new pair of moccasins, treads upon it until all is hulled. The women then pour it upon a robe and begin to shake it so that the chaff will be separated by the wind. Some of the rice is browned before being hulled.

    During the hulling time there were prizes offered to the young men who can hull quickest and best. There were sometimes from twenty to fifty youths dancing with their feet in these holes.

    Charles A. Eastman (Ohiyesa), Indian Boyhood, chapter X, "Indian Life and Adventure," section III, "Wild Harvests" (Passage 3: the wild rice harvest; one cut marked [...]) (1902). Public domain (published 1902). Source text.
  5. Closure5-10 minutes

    Exit ticket: (1) Which of the four moves did you use most on the wild rice passage, and where? (2) Copy one word you worked out from context and the clue that helped.

    Teacher note on the texts. The passages are quoted exactly as published. Larcom describes child labor calmly because she is remembering her own childhood; in the 1830s children her age often worked in the textile mills, and her own adult judgment appears in paragraph 5. Eastman writes "Indians" and "Sioux," the usual English words of his time; Eastman's people were the Santee, or eastern, Dakota, one of the peoples often called the Sioux, and many prefer their own names today. His word "maidens" means young women. Burroughs writes in an older, more formal style, which is why his essay comes last and with the most support.

    For homework: students read the opening of John Burroughs's nature essay "The Return of the Birds," from Wake-Robin (1871), his first book of nature essays, with the word list below and the homework questions as guides. This is the hardest passage on the page. Context note: John Burroughs (1837-1921) was an American nature writer who spent his life watching birds and writing about them for general readers. A wake-robin is a white woodland flower that blooms in spring. Words to know: vernal (of spring); summer solstice (the longest day of the year, around June 21); succulency (juiciness); inaugurated (officially begun); rehabilitation (bringing back to health); vireo (a small songbird); compass degrees and zones (travel across large parts of the globe); leagues (an old unit of distance, about three miles each). The Adirondacks are mountains in northern New York; the Potomac is the river that flows past Washington, D.C.

    Spring in our northern climate may fairly be said to extend from the middle of March to the middle of June. At least, the vernal tide continues to rise until the latter date, and it is not till after the summer solstice that the shoots and twigs begin to harden and turn to wood, or the grass to lose any of its freshness and succulency.

    It is this period that marks the return of the birds,--one or two of the more hardy or half-domesticated species, like the song-sparrow and the bluebird, usually arriving in March, while the rarer and more brilliant wood-birds bring up the procession in June. But each stage of the advancing season gives prominence to certain species, as to certain flowers. The dandelion tells me when to look for the swallow, the dog-toothed violet when to expect the wood-thrush, and when I have found the wake-robin in bloom I know the season is fairly inaugurated. With me this flower is associated, not merely with the awakening of Robin, for he has been awake some weeks, but with the universal awakening and rehabilitation of nature.

    Yet the coming and going of the birds is more or less a mystery and a surprise. We go out in the morning, and no thrush or vireo is to be heard; we go out again, and every tree and grove is musical; yet again, and all is silent. Who saw them come? Who saw them depart?

    This pert little winter-wren, for instance, darting in and out the fence, diving under the rubbish here and coming up yards away,--how does he manage with those little circular wings to compass degrees and zones, and arrive always in the nick of time? Last August I saw him in the remotest wilds of the Adirondacs, impatient and inquisitive as usual; a few weeks later, on the Potomac, I was greeted by the same hardy little busybody. Does he travel by easy stages from bush to bush and from wood to wood? or has that compact little body force and courage to brave the night and the upper air, and so achieve leagues at one pull?

    John Burroughs, Wake-Robin, "The Return of the Birds" (Passage 4: the opening of the essay) (1871; this edition 1877). Public domain (published 1877). Source text.

Differentiation Strategies

For Struggling Students

  • Keep the Guided Practice prompts for the wild rice passage and fade them on the homework instead
  • Read each paragraph aloud once before the student paraphrases it, so the student can listen first and then reread
  • Give a short word list for the wild rice passage (propitiatory, manipulated, traversed, hulling, chaff) and ask the student to cross out each word once context has made it clear
  • Let the student paraphrase aloud to a partner before writing

For Advanced Students

  • Ask students to find the sentences in each passage where the writer steps back to judge or explain, and compare where the three writers place them
  • Have students read the rest of "The Return of the Birds" without a word list and write the word list a classmate would need
  • Ask students to write a context note for the wild rice passage, then compare it with the one in Independent Practice

Assessment Guidance

What to Look For

The target is a reader who can manage a grade-level true story alone and knows what help to ask for on a harder one. Accurate paraphrases keep the main event and the writer's attitude; watch for paraphrases that copy the text's words, that drop the reason for an event, or that add details the paragraph does not give. Watch also for students who stop at every hard word, and for those who skip hard words even when the sentence then makes no sense. By the end of grade 6, a student may still need a word list and guiding questions for a passage like Burroughs's; the goal for a passage like Eastman's is proficient reading with the move names alone.

02

Classroom Activities

3 Activities

1

Paraphrase Relay

15 minPairs

Pairs paraphrase six hard sentences from parts of the three books that the lesson does not print. Putting a long, old sentence into plain words is the second reading move, and practicing it on single sentences makes it easier on whole paragraphs.

The Six Strips

  1. "It impressed me with something of the awe which comes to us in thinking of the great Power which keeps the mechanism of the universe in motion." (Larcom)
  2. "my mind seemed to have been ploughed up during that year of work, so that knowledge took root in it easily." (Larcom)
  3. "It seems to be a popular idea that all the characteristic skill of the Indian is instinctive and hereditary. This is a mistake." (Eastman)
  4. "Even when he is surprised and runs for his life, he will pause to take one more look at you before he enters his final retreat." (Eastman)
  5. "The bird at first seems a mere wandering voice in the air" (Burroughs)
  6. "Robin is one of the most native and democratic of our birds; he is one of the family" (Burroughs)

Procedure

  • Partner A reads a strip aloud and paraphrases it in one sentence; Partner B checks it against the strip and adds anything missing; then they switch for the next strip
  • Pairs star the strip that was hardest and circle the word that made it hard
  • Two pairs compare paraphrases of the starred strip and agree on the best one

Answer Key for the Teacher

1: The huge wheel made Larcom feel the kind of wonder people feel when they think of the power that keeps the whole universe running (she is describing the mill's great water-wheel). 2: The year of work had made her mind ready to learn, like a plowed field ready for seeds. 3: Many people think the woods skills of Eastman's people are inborn, but that is wrong (Eastman goes on to say they are learned by practice). 4: Even when a wolf is surprised and running for its life, it stops to look back once more before it hides. 5: At first you only hear the bird, without seeing where it is. 6: The robin is a common, friendly bird that seems like part of the household. Accept any paraphrase that keeps the meaning and uses mostly the students' own words.

Discussion Questions

  • Strip 2 compares a mind to a field. How did the picture help you, or get in your way?
  • Strip 3 is two sentences. Why is the short second sentence important for the paraphrase?
2

Context Clue Detectives

15 minGroups of 3-4

Groups work out six words from sentences in the three books that the lesson does not print, using only the sentence, then check a dictionary. The activity practices the third move and shows students how often the words around a hard word are enough.

The Six Word Cards

  1. pulleys: "The buzzing and hissing and whizzing of pulleys and rollers and spindles and flyers around me often grew tiresome."
  2. caches: "Caches were dug by each family in a concealed spot, and carefully lined with dry grass and bark. Here they left their surplus stores for a time of need."
  3. incessantly: "They let nothing go to waste, and labored incessantly during the summer and fall to lay up provision for the inclement season."
  4. inclement: "They let nothing go to waste, and labored incessantly during the summer and fall to lay up provision for the inclement season."
  5. saucy: "Their boldness increases till one sees them hovering with a saucy, inquiring air about barns and out-buildings"
  6. masonry: "Its coarse material and rough masonry are creditable neither to his skill as a workman nor to his taste as an artist."

Procedure

  • For each card, the group writes a guess at the meaning and names the clue (an example, a contrast, a list or a description)
  • One student checks the dictionary and reports whether the guess was right, close or wrong
  • Groups sort the cards into "context was enough" and "needed the dictionary"

Answer Key for the Teacher

Pulleys: wheels with ropes or belts that turn machinery (clue: the list of buzzing, whizzing machine parts). Caches: hidden storage places (clues: "dug," "concealed spot," "left their surplus stores"). Incessantly: without stopping (clue: "let nothing go to waste" and "during the summer and fall"). Inclement: harsh, stormy, as in cold weather (clue: the food is stored for the season that follows summer and fall). Saucy: bold and cheeky (clue: "boldness increases" and "inquiring"). Masonry: building work, like laying stones or bricks (clue: the robin's nest is compared to the work of a "workman"). Groups may place inclement and masonry in either pile.

Discussion Questions

  • Which kind of clue helped most often?
  • Card 6 uses "masonry" about a bird's nest. Why might Burroughs use a builder's word for a bird?

Modification

For groups who need support, do card 2 together as a class, naming each clue aloud, before groups try the others.

3

Build the Scaffold

15 minGroups of 3-4

Groups build the support a classmate would need to read one more paragraph of Burroughs, a paragraph about the robin from later in the same essay. Deciding what help a hard text needs teaches students to recognize, and later ask for, the scaffolding that RI.6.10 allows at the high end of the band.

The Paragraph Card (Burroughs, Wake-Robin)

"Not long after the bluebird comes the robin, sometimes in March, but in most of the Northern States April is the month of the robin. In large numbers they scour the fields and groves. You hear their piping in the meadow, in the pasture, on the hill-side. Walk in the woods, and the dry leaves rustle with the whir of their wings, the air is vocal with their cheery call. In excess of joy and vivacity, they run, leap, scream, chase each other through the air, diving and sweeping among the trees with perilous rapidity."

Procedure

  • Each student reads the card alone and underlines every word or phrase that slowed them down
  • The group writes a scaffold: a one-sentence context note, a word list of no more than four words, and two guiding questions
  • Groups trade scaffolds, reread the paragraph with another group's scaffold, and say which part helped most

Answer Key for the Teacher

A strong scaffold might gloss scour (search all over), vocal (full of sound), vivacity (liveliness) and perilous rapidity (dangerous speed), and ask: "When do robins arrive in most of the Northern States?" (April) and "What do the robins do that shows their joy?" (they run, leap, scream and chase each other through the air). Weaker scaffolds gloss easy words or ask questions the paragraph does not answer. Accept any scaffold that targets the real hard spots.

Discussion Questions

  • Did your group agree about which words were hard? Why might different readers need different help?
  • Which is more helpful for this paragraph, a word list or a guiding question?

Variation: Remove One Support

Groups reread the card with only their two guiding questions, no word list, and decide whether they still understood it.

03

Diagrams & Visual Aids

2 diagrams

Diagram 1: Gradual Release Across the Lesson

Support for each passage: removed, then returned at the high end Passage 1 Larcom teacher models Passage 2 Eastman pairs Passage 3 Eastman alone Passage 4 Burroughs homework Teacher thinks aloud Partner Step-by-step prompts Words to know Context note grade-level text: support removed high end: support back
Filled circles show the supports each passage gets. Support is removed one layer at a time until students read Passage 3 with only a context note. It comes back for Passage 4, the hardest text on the page, because RI.6.10 allows "scaffolding as needed at the high end of the range." Only the context note stays throughout: every reader of true writing needs to know who is writing and when.

Diagram 2: Measured Features of the Four Passages

Two measured features of the four passages Average words per sentence 0 5 10 15 20 25 30 20.0 Larcom 16.7 Eastman 1 17.8 Eastman 2 25.8 Burroughs Long words (9+ letters) per 100 words 0 2 4 6 8 4.6 Larcom 5.6 Eastman 1 5.4 Eastman 2 6.6 Burroughs
Counted by computer: words are runs of letters, sentences end at a period, question mark or exclamation point, and long words have 9 or more letters. Larcom: 280 words in 14 sentences, 13 long words. Eastman, Passage 2: 301 words, 18 sentences, 17 long words. Eastman, Passage 3: 410 words, 23 sentences, 22 long words. Burroughs: 361 words, 14 sentences, 24 long words. Burroughs is highest on both measures. Numbers like these are only part of how hard a text is: Larcom's sentences are longer than Eastman's, but her ideas are easy to follow, and the ideas, the vocabulary and what the reader already knows matter too.

04

Homework Assignment

~30 min

RI.6.10 Homework: Reading Burroughs with Support

Directions: Read Passage 4, the opening of "The Return of the Birds," at the end of the lesson plan (in Closure), using the context note and the words to know above it. This is the hardest passage in the lesson, so the questions walk through it one paragraph at a time. Cite a paragraph number for every quotation, and answer in complete sentences.

Part 1: Preview and Paraphrase (Problems 1-2)

  1. Preview: in two sentences, tell who wrote this passage, when it was first published, and what real subject it is about. Then paraphrase paragraph 1 in one sentence: according to Burroughs, when does spring begin and end?
  2. Paragraph 2 says, "The dandelion tells me when to look for the swallow, the dog-toothed violet when to expect the wood-thrush." Explain in your own words what Burroughs means. How can a flower "tell" him something?

Part 2: Hard Words and Hard Sentences (Problems 3-4)

  1. Choose two words or phrases from paragraphs 1-2 that are not in the word list, or cover the word list and choose two that are. For each, write the clue in the sentence that helps you guess its meaning, your guess, and whether the word list or a dictionary agreed.
  2. Paragraph 4 asks, "Does he travel by easy stages from bush to bush and from wood to wood? or has that compact little body force and courage to brave the night and the upper air, and so achieve leagues at one pull?" Rewrite the two questions in plain words, and explain what Burroughs is wondering about the winter-wren.

Part 3: The Point and Your Reading (Problems 5-6)

  1. Paragraph 3 ends with two questions: "Who saw them come? Who saw them depart?" Why does Burroughs ask questions here instead of giving answers? State the point of paragraphs 3-4 in one sentence.
  2. Reading log: for each of the four passages in this lesson, rate your reading as "needed a lot of support," "used some support" or "read it on my own." Then, in 4-6 sentences, explain your rating for Burroughs: quote the place where you slowed down most, name the move or the support you used there, and say whether you could read the next paragraph of the essay without the word list.

Rubric

CriterionFull Credit (2 pts)Partial Credit (1 pt)No Credit (0 pts)
UnderstandingParaphrases keep Burroughs's meaning and the main detailsParaphrases are partly accurate or copy the text's wordsMisreads the passage
Word WorkClues named for each word, with sensible guesses checkedGuesses without clues, or clues without guessesNo word work
EvidenceExact quotations with paragraph numbersQuotations without paragraph numbersNo quotations
Self-AssessmentHonest ratings with a quoted hard spot and the support usedRatings with little explanationMissing

05

Quiz: 20 Questions

Interactive, with answers

Instructions

Questions 1-11 and 13-19 use Passage 3, the wild rice passage (in Independent Practice); question 19 also uses Passage 1 (in Direct Instruction). Questions 12 and 20 are about the reading moves; question 20 also uses Passage 3. The paragraphs are numbered; the [...] mark is not a paragraph. Your score updates as you answer, and Reset quiz clears everything.

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

    According to paragraph 1, why did many families go to the lakes at this time of year?

  2. Question 2 of 20 · Multiple Choice

    Paragraph 1 ends, "really no season of the year was happier than this." What kind of statement is this?

  3. Question 3 of 20 · Multiple Choice

    In paragraph 2, what did each family do right after the canoes were placed on the water?

  4. Question 4 of 20 · Multiple Choice

    How did the harvesters get the rice into the canoe?

  5. Question 5 of 20 · Multiple Choice

    Paragraph 2 says the canoes were placed on the water "with prayer and propitiatory offerings." Using context, what are propitiatory offerings most likely to be?

  6. Question 6 of 20 · Multiple Choice

    What does Eastman call "the real work" of the harvest?

  7. Question 7 of 20 · Multiple Choice

    According to paragraph 3, when did the harvesters dry the rice over a fire?

  8. Question 8 of 20 · Multiple Choice

    Paragraph 4 describes the "hulling." Which clue best shows what hulling does to the rice?

  9. Question 9 of 20 · Multiple Choice

    Who treads on the rice in the hole?

  10. Question 10 of 20 · Multiple Choice

    Paragraphs 2 and 3 are told in the past tense ("were carried," "would spread"), but paragraph 4 changes to the present tense ("is gathered," "begins"). What does the change most likely show?

  11. Question 11 of 20 · Multiple Choice

    Which sentence best states the point of the whole passage?

  12. Question 12 of 20 · Multiple Choice

    Before reading a new passage of literary nonfiction, which question belongs to the Preview move?

  13. Question 13 of 20 · Multiple Choice

    In paragraph 2, "The field was traversed in this manner back and forth until finished." What is the best first step for working out "traversed"?

  14. Question 14 of 20 · Multiple Choice

    Paragraph 3 says that when rice was dried over a fire, the harvesters were "taking care that the grass did not catch fire." What does this detail suggest?

  15. Question 15 of 20 · Short Answer

    Paraphrase paragraph 2 in one or two sentences of your own.

  16. Question 16 of 20 · Short Answer

    List the steps that turned wild rice in the lake into rice ready to eat, in order, using paragraphs 2-4. Give at least five steps.

  17. Question 17 of 20 · Short Answer

    Eastman says that one part of the harvest was pleasanter and easier than another (paragraph 3). Which part was it? Using details from paragraphs 1-3, explain why that part might have felt pleasant compared with the other.

  18. Question 18 of 20 · Short Answer

    Find a sentence in the passage that tells what happened and a sentence that tells what Eastman thinks or feels about it. Copy both and explain how you told them apart.

  19. Question 19 of 20 · Short Answer

    Larcom (Passage 1) and Eastman (Passage 3) both describe work done by young people. How are the two writers' attitudes toward that work alike, and how are they different? Use one quotation from each passage.

  20. Question 20 of 20 · Short Answer

    Which of the four reading moves helped you most with the wild rice passage? Name the paragraph where you used it, copy the words that were hard, and explain what you did.

0 of 20 answered · 0 correct

06

Frequently Asked Questions

10 Questions

What does RI.6.10 mean?

It means that by the end of grade 6, students can read and understand literary nonfiction as hard as the grades 6-8 band allows, with help when a text is near the top of that band. It is a standard about the level and range of reading, not about one skill such as finding the main idea.

What is literary nonfiction?

True writing about real people, places and events, written with a writer's craft: memoirs, personal essays, biographies, travel writing, speeches and nature writing. It differs from a textbook or a manual because the writer tells a story or shares a view, often in the first person.

What is a text complexity band?

A range of reading difficulty that the Common Core sets for a group of grades. Grades 6, 7 and 8 share one band. Complexity is judged in three ways together: measurable features such as sentence length and word frequency, qualities such as purpose, structure, language and the knowledge a text expects, and the reader and the task.

What does "scaffolding as needed at the high end of the range" look like?

Support that can be removed, such as a context note, a word list, guiding questions, a partner or a teacher think-aloud, given for the hardest texts in the band. In this lesson the grade-level passage is read alone, and the support comes back for the Burroughs essay at the high end. The goal is to give only the help a reader needs and take it away as soon as possible.

What is gradual release?

A way of teaching in three steps: the teacher shows how ("I do"), students try it together with help ("we do"), and students do it alone ("you do"). Each step removes some support. Diagram 1 shows how this lesson removes the supports one at a time.

How is RI.6.10 different from RI.7.10 and RI.8.10?

RI.6.10 and RI.7.10 use the same words: both expect reading in the grades 6-8 band with scaffolding as needed at the high end, and grade 7 moves to harder texts within the band. RI.8.10 expects students to read at the high end of the band independently, without the scaffolding.

How is RI.6.10 different from RL.6.10?

RL.6.10 is about literature: stories, dramas and poems. RI.6.10 is about literary nonfiction. The level is the same band, but true writing brings its own challenges, such as real places and times the reader has to picture and a writer who moves between telling events and judging them.

Why use texts written more than a hundred years ago?

Older nonfiction gives real practice with long sentences and less familiar words, which is part of what makes a text complex. Texts published before 1930 are also in the public domain in the United States, so they can be printed in full. Pair them with modern nonfiction during the year for the full range.

How can teachers assess RI.6.10?

Give students a new passage from the band with less support than before and check their understanding with questions on details, words in context, sequence and the writer's point, as in the quiz on this page. Paraphrases written after each paragraph, and short reading logs that name where a student got stuck, show whether the student can manage a text alone.

Should students look up every word they do not know?

No. They should first reread and use the words around the hard word, and look it up only when the sentence still does not make sense. Stopping at every word breaks up the reading, and skipping every word leaves gaps; Activity 2 on this page practices the choice.