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RI.6.3Common CoreELAReading Informational TextGrade 6

RI.6.3: How an Author Introduces, Illustrates and Elaborates a Key Individual

In plain English: RI.6.3 is the Common Core grade 6 ELA standard that asks students to analyze in detail how a nonfiction text presents a key individual, event or idea: how the author introduces it, illustrates it with examples or anecdotes, and elaborates on it with further details. It builds on RI.5.3 and leads to RI.7.3.

Analyze in detail how a key individual, event, or idea is introduced, illustrated, and elaborated in a text (e.g., through examples or anecdotes).

Common Core State Standards for English Language Arts & Literacy · Domain: Reading Standards for Informational Text · Cluster: Key Ideas and Details · Official standard

01

Lesson Plan

55-65 min

Overview

Students learn to analyze in detail how a nonfiction author presents a key individual (the person, animal, event or idea a text is mostly about). They follow three moves: how the author introduces the individual (the first picture readers get), how the author illustrates it (shows it in action through examples, quick single cases, and anecdotes, short true stories about one incident) and how the author elaborates on it (adds facts, explanations and later details that develop the first picture). The standard's own examples, examples and anecdotes, are the main tools students look for.

The text is "Lobo, the King of Currumpaw" from Ernest Thompson Seton's Wild Animals I Have Known (1898), a true account of a huge gray wolf that the ranchers of northern New Mexico could not catch in the early 1890s. Seton wrote that there is "almost no deviation from the truth" in this story, and he was the hunter who came, at a rancher friend's invitation, to catch Lobo in 1893. Across six short passages, Lobo is introduced as a "king," illustrated through stories told by cowboys and by Seton himself, and elaborated with habits, measurements and a hint of how his story will end.

Learning Objectives

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

  • Explain how an author introduces a key individual, including the first words, labels and impressions the author chooses
  • Tell an example from an anecdote and explain what each one illustrates about the individual
  • Explain how later details, facts and explanations elaborate on the first picture of the individual, sometimes by correcting or complicating it
  • Write a short analysis that traces a key individual through all three moves, with quotations and paragraph numbers

Prior Knowledge Required

Students should already be comfortable with:

  • Explaining relationships between individuals, events or ideas in a text using specific information RI.5.3
  • Quoting accurately from a text when explaining what it says RI.5.1
  • Citing textual evidence for what a text says and implies RI.6.1
  • Telling a fact apart from an opinion or a judgment

Lesson Procedure

55-65 minutes of class time across 5 phases.

  1. Warm-Up5-10 minutes

    Warm-Up Prompt

    "You are writing a short article for the school newsletter about a person at school that everyone should know, such as a coach, a custodian or a crossing guard. Write the first sentence of your article. Then, in a few words, name one short true story you would tell to show what this person is like."

    Collect three or four first sentences and stories. Point out that the first sentence is the reader's first picture of the person, and the story is proof of that picture in action. Tell students that nonfiction writers do the same thing on purpose, and today they will watch one writer do it with a famous wolf.

  2. Direct Instruction15 minutes

    Teach six terms before reading, and leave them on the board with Diagram 1:

    • Key individual: the person, animal, event or idea that a text is mostly about. Here it is Lobo, a wolf.
    • Introduce: how the author first presents the individual. Look at the first mention, the names or labels used and the first impression readers get.
    • Illustrate: to show the individual in action, so readers see what the author has claimed.
    • Example: one quick case, often a single sentence, that shows a trait.
    • Anecdote: a short true story about one incident, with a beginning, a middle and an end.
    • Elaborate: to add more to the picture later on, with facts, numbers, explanations, corrections or the author's own observations.

    Words to know in Passages 1 and 2: mesas (flat-topped hills), despotic (ruling with total, harsh power), ravaged (badly damaged), bivouac (an outdoor camp), canon (canyon), inroads (attacks), freebooters (robbers), fastidious (very fussy), heifer (a young cow), disdained (refused as not good enough), mutton (sheep meat), descried (spotted) and immunity (protection from harm). Blanca, whose name means "white" in Spanish, is a white wolf in Lobo's pack; lobo is Spanish for "wolf."

    CURRUMPAW is a vast cattle range in northern New Mexico. It is a land of rich pastures and teeming flocks and herds, a land of rolling mesas and precious running waters that at length unite in the Currumpaw River, from which the whole region is named. And the king whose despotic power was felt over its entire extent was an old gray wolf.

    Old Lobo, or the king, as the Mexicans called him, was the gigantic leader of a remarkable pack of gray wolves, that had ravaged the Currumpaw Valley for a number of years. All the shepherds and ranchmen knew him well, and, wherever he appeared with his trusty band, terror reigned supreme among the cattle, and wrath and despair among their owners. Old Lobo was a giant among wolves, and was cunning and strong in proportion to his size. His voice at night was well-known and easily distinguished from that of any of his fellows. An ordinary wolf might howl half the night about the herdsman's bivouac without attracting more than a passing notice, but when the deep roar of the old king came booming down the canon, the watcher bestirred himself and prepared to learn in the morning that fresh and serious inroads had been made among the herds.

    Ernest Thompson Seton, Wild Animals I Have Known, "Lobo, the King of Currumpaw" (Passage 1: the opening) (1898). Public domain (published 1898). Source text.

    The old idea that a wolf was constantly in a starving state, and therefore ready to eat anything, was as far as possible from the truth in this case, for these freebooters were always sleek and well-conditioned, and were in fact most fastidious about what they ate. Any animal that had died from natural causes, or that was diseased or tainted, they would not touch, and they even rejected anything that had been killed by the stockmen. Their choice and daily food was the tenderer part of a freshly killed yearling heifer. An old bull or cow they disdained, and though they occasionally took a young calf or colt, it was quite clear that veal or horseflesh was not their favorite diet. It was also known that they were not fond of mutton, although they often amused themselves by killing sheep. One night in November, 1893, Blanca and the yellow wolf killed two hundred and fifty sheep, apparently for the fun of it, and did not eat an ounce of their flesh.

    These are examples of many stories which I might repeat, to show the ravages of this destructive band. Many new devices for their extinction were tried each year, but still they lived and throve in spite of all the efforts of their foes. A great price was set on Lobo's head, and in consequence poison in a score of subtle forms was put out for him, but he never failed to detect and avoid it. One thing only he feared--that was firearms, and knowing full well that all men in this region carried them, he never was known to attack or face a human being. Indeed, the set policy of his band was to take refuge in flight whenever, in the daytime, a man was descried, no matter at what distance. Lobo's habit of permitting the pack to eat only that which they themselves had killed, was in numerous cases their salvation, and the keenness of his scent to detect the taint of human hands or the poison itself, completed their immunity.

    Ernest Thompson Seton, Wild Animals I Have Known, "Lobo, the King of Currumpaw" (Passage 2: what the pack would and would not do) (1898). Public domain (published 1898). Source text.
    • Introduced: the first picture

      How does Seton introduce Lobo in Passage 1?

      Result: He holds back the surprise. Paragraph 1 describes a rich cattle country and its "king," and only the last words reveal that the king "was an old gray wolf." Paragraph 2 then gives the name and builds the picture through what Lobo does to people: "terror reigned supreme among the cattle, and wrath and despair among their owners." Readers first meet Lobo as a powerful ruler that everyone fears, not as an ordinary animal.

    • Illustrated: an example, not an anecdote

      In paragraph 1 of Passage 2, Seton says the pack "even rejected anything that had been killed by the stockmen." Is this an example or an anecdote, and what does it show?

      Result: An example. It is one quick case in a single clause, with no particular day, place or sequence of events, so it is not a story. It shows the claim just before it, that the wolves were "most fastidious about what they ate." Several short examples in a row (no diseased animals, no old bulls, the tenderest part of a heifer) build that claim quickly.

    • Elaborated: correcting an old idea

      Paragraph 1 of Passage 2 opens with "The old idea that a wolf was constantly in a starving state, and therefore ready to eat anything." How does this sentence elaborate on Lobo?

      Result: It sets up a common belief and then says it "was as far as possible from the truth in this case." Correcting the belief adds something new to the picture from Passage 1: Lobo's pack is not desperate or hungry, it is "sleek and well-conditioned" and picky. The king from Passage 1 now has habits, and they make him even harder to catch.

    • Elaborated: explaining a trait

      What does the last sentence of Passage 2 add to the picture of Lobo?

      Result: It explains why poison failed. The pack ate "only that which they themselves had killed," and Lobo's keen scent picked up "the taint of human hands." Passage 1 only claimed that Lobo was cunning; this sentence elaborates by giving the reasons behind his success, so the claim now has an explanation.

    Model the tracker. Show Diagram 1 and fill in one line for each move as you think aloud: "Seton introduces Lobo as a feared king (Passage 1, paragraph 1). He illustrates the pack's habits with quick examples (Passage 2, paragraph 1). He elaborates by explaining why poison never worked (Passage 2, paragraph 2)." Point out that Passage 2, paragraph 2 starts with "These are examples of many stories which I might repeat": Seton himself tells readers that he is illustrating.

  3. Guided Practice15 minutes

    Read Passage 3 aloud. It is a story one of the cowboys told about Lobo. Words to know: rallying-cry (a call that gathers a group), stealthily (quietly, so as not to be noticed), knoll (a small hill), 'cut out' (separate one animal from the herd), onset (attack), ere (before), strychnine (a deadly poison once used on wolves) and carcass (a dead animal's body). The passage describes a cow being killed; preview it for students who may find this upsetting.

    On one occasion, one of the cowboys heard the too familiar rallying-cry of Old Lobo, and, stealthily approaching, he found the Currumpaw pack in a hollow, where they had 'rounded' up a small herd of cattle. Lobo sat apart on a knoll, while Blanca with the rest was endeavoring to 'cut out' a young cow, which they had selected; but the cattle were standing in a compact mass with their heads outward, and presented to the foe a line of horns, unbroken save when some cow, frightened by a fresh onset of the wolves, tried to retreat into the middle of the herd. It was only by taking advantage of these breaks that the wolves had succeeded at all in wounding the selected cow, but she was far from being disabled, and it seemed that Lobo at length lost patience with his followers, for he left his position on the hill, and, uttering a deep roar, dashed toward the herd. The terrified rank broke at his charge, and he sprang in among them. Then the cattle scattered like the pieces of a bursting bomb. Away went the chosen victim, but ere she had gone twenty-five yards Lobo was upon her. Seizing her by the neck, he suddenly held back with all his force and so threw her heavily to the ground. The shock must have been tremendous, for the heifer was thrown heels over head. Lobo also turned a somersault, but immediately recovered himself, and his followers falling on the poor cow, killed her in a few seconds. Lobo took no part in the killing--after having thrown the victim, he seemed to say, "Now, why could not some of you have done that at once without wasting so much time?"

    The man now rode up shouting, the wolves as usual retired, and he, having a bottle of strychnine, quickly poisoned the carcass in three places, then went away, knowing they would return to feed, as they had killed the animal themselves. But next morning, on going to look for his expected victims, he found that, although the wolves had eaten the heifer, they had carefully cut out and thrown aside all those parts that had been poisoned.

    Ernest Thompson Seton, Wild Animals I Have Known, "Lobo, the King of Currumpaw" (Passage 3: the cowboy's story) (1898). Public domain (published 1898). Source text.
    1. Name the claim. Ask: which words in Passage 1 does this anecdote prove? Teacher note: "cunning and strong in proportion to his size" (Passage 1, paragraph 2). Paragraph 1 of Passage 3 shows the strength, and paragraph 2 shows the cunning.
    2. Map the anecdote. With Diagram 2, students name the beginning (the cows stand "with their heads outward" and the pack cannot break in), the middle (Lobo "dashed toward the herd" and throws the heifer) and the end (the cowboy poisons the carcass, and the wolves "carefully cut out and thrown aside all those parts that had been poisoned").
    3. Separate what happened from what Seton adds. Ask: did Lobo really say "Now, why could not some of you have done that at once"? Teacher note: no, Seton writes that Lobo "seemed to say" it. It is Seton's playful guess, and it makes Lobo sound like an impatient boss, which fits the "king" of Passage 1.
    4. Write the analysis sentence together. Model: "Seton illustrates Lobo's strength and cunning with a cowboy's anecdote: Lobo breaks a wall of horns by himself (Passage 3, paragraph 1), and the next morning the pack refuses the poisoned parts of the cow (paragraph 2)."
  4. Independent Practice15 minutes

    Students read Passage 4 on their own. By now, Seton has come to New Mexico himself to hunt Lobo. He has hidden poison inside lumps of cheese and fat and dropped them along a trail made by dragging meat on a rope (his drag). Words to know: forefoot (front paw), commensurate (in the same large proportion), obscured (partly hidden), stark (stiff and dead), exulted (felt great joy), scanned (looked all over), contempt (the feeling that something is worthless), avail (work, succeed) and vermin (animals treated as pests).

    The next morning I went forth, eager to know the result. I soon came on the fresh trail of the robbers, with Lobo in the lead--his track was always easily distinguished. An ordinary wolf's forefoot is 4 1/2 inches long, that of a large wolf 4 3/4 inches, but Lobo's, as measured a number of times, was 5 1/2 inches from claw to heel; I afterward found that his other proportions were commensurate, for he stood three feet high at the shoulder, and weighed 150 pounds. His trail, therefore, though obscured by those of his followers, was never difficult to trace. The pack had soon found the track of my drag, and as usual followed it. I could see that Lobo had come to the first bait, sniffed about it, and finally had picked it up.

    Then I could not conceal my delight. "I've got him at last," I exclaimed; "I shall find him stark within a mile," and I galloped on with eager eyes fixed on the great broad track in the dust. It led me to the second bait and that also was gone. How I exulted--I surely have him now and perhaps several of his band. But there was the broad pawmark still on the drag; and though I stood in the stirrup and scanned the plain I saw nothing that looked like a dead wolf. Again I followed--to find now that the third bait was gone--and the king-wolf's track led on to the fourth, there to learn that he had not really taken a bait at all, but had merely carried them in his mouth, Then having piled the three on the fourth, he scattered filth over them to express his utter contempt for my devices. After this he left my drag and went about his business with the pack he guarded so effectively.

    This is only one of many similar experiences which convinced me that poison would never avail to destroy this robber, and though I continued to use it while awaiting the arrival of the traps, it was only because it was meanwhile a sure means of killing many prairie wolves and other destructive vermin.

    Ernest Thompson Seton, Wild Animals I Have Known, "Lobo, the King of Currumpaw" (Passage 4: the poisoned baits) (1898). Public domain (published 1898). Source text.

    On the handout, students answer four questions: (1) Which word from Passage 1 do the measurements in paragraph 1 elaborate on, and what do the numbers add? (2) Retell the anecdote in paragraphs 1-2 in three sentences: beginning, middle and end. (3) Seton writes that Lobo scattered filth over the baits "to express his utter contempt for my devices." Is that something Seton saw, or something he decided it meant? What does it add to the picture of Lobo? (4) What does paragraph 3 do with the anecdote?

    Teacher answer notes: (1) "gigantic" or "a giant among wolves" (Passage 1). The numbers turn a claim into proof: Lobo's forefoot was 5 1/2 inches, a full inch longer than an ordinary wolf's 4 1/2 inches, and he weighed 150 pounds. (2) Lobo follows the drag and seems to pick up bait after bait; Seton gallops along, sure he has won; at the fourth bait he finds that Lobo only carried the baits and piled them up. (3) Seton saw the pile; the meaning, contempt, is his own interpretation. It elaborates by giving Lobo something like a sense of humor or pride. (4) It turns the single story into a pattern, "only one of many similar experiences," and explains why Seton gave up on poison for Lobo.

  5. Closure5-10 minutes

    Exit ticket: (1) In one sentence, explain the difference between an example and an anecdote. (2) Complete the frame for Passage 4: "Seton elaborates on Lobo by ___, which adds ___ (paragraph __)."

    Teacher note on history and content: Seton (1860-1946) was a naturalist and artist who later helped found the Boy Scouts of America. In the 1890s, ranchers treated wolves as enemies, and Seton came to New Mexico at a rancher friend's invitation to kill Lobo. The passages keep his words exactly, including "robbers," "vermin" and details of poisoning and of cattle and sheep being killed. Discuss that these words show how ranchers of the time saw wolves; by the middle of the 1900s, hunting, trapping and poison had removed wolves from much of the American West. Seton says in his note to readers that "These stories are true," but also that he "left the strict line of historical truth in many places"; for Lobo he claims "almost no deviation from the truth." The story ends with Lobo's death, which these passages do not include.

    For the quiz: students read Passage 5, printed below. The traps Seton ordered have arrived, and he sets them along the pack's trails. Words to know: insure (make sure of), concealed (hidden), unsprung (not snapped shut), sagacity (wisdom and good judgment), rapine (robbery by force), alliance (a partnership), unassailable (impossible to defeat) and indiscretion (a careless act).

    At length the wolf traps arrived, and with two men I worked a whole week to get them properly set out. We spared no labor or pains, I adopted every device I could think of that might help to insure success. The second day after the traps arrived, I rode around to inspect, and soon came upon Lobo's trail running from trap to trap. In the dust I could read the whole story of his doings that night. He had trotted along in the darkness, and although the traps were so carefully concealed, he had instantly detected the first one. Stopping the onward march of the pack, he had cautiously scratched around it until he had disclosed the trap, the chain, and the log, then left them wholly exposed to view with the trap still unsprung, and passing on he treated over a dozen traps in the same fashion. Very soon I noticed that he stopped and turned aside as soon as he detected suspicious signs on the trail, and a new plan to outwit him at once suggested itself. I set the traps in the form of an H; that is, with a row of traps on each side of the trail, and one on the trail for the cross-bar of the H. Before long, I had an opportunity to count another failure. Lobo came trotting along the trail, and was fairly between the parallel lines before he detected the single trap in the trail, but he stopped in time, and why or how he knew enough I cannot tell, the Angel of the wild things must have been with him, but without turning an inch to the right or left, he slowly and cautiously backed on his own tracks, putting each paw exactly in its old track until he was off the dangerous ground. Then returning at one side he scratched clods and stones with his hind feet till he had sprung every trap. This he did on many other occasions, and although I varied my methods and redoubled my precautions, he was never deceived, his sagacity seemed never at fault, and he might have been pursuing his career of rapine to-day, but for an unfortunate alliance that proved his ruin and added his name to the long list of heroes who, unassailable when alone, have fallen through the indiscretion of a trusted ally.

    Ernest Thompson Seton, Wild Animals I Have Known, "Lobo, the King of Currumpaw" (Passage 5: the traps) (1898). Public domain (published 1898). Source text.

    For homework: students read Passage 6, printed below. It comes from part I of the story, before Seton arrived, when the ranchers had put a $1,000 reward on Lobo's head. Words to know: bounty (a reward for killing an animal), veritable (real, true), "loup-garou" (French for werewolf), incantations (magic words), grizzly (here, gray-haired, not a bear), devastator (destroyer), aforetime (before), tributary (a stream that flows into a river), unscathed (unhurt) and vainly (without success).

    Next year, two other hunters appeared, determined to win the promised bounty. Each believed he could destroy this noted wolf, the first by means of a newly devised poison, which was to be laid out in an entirely new manner; the other a French Canadian, by poison assisted with certain spells and charms, for he firmly believed that Lobo was a veritable "loup-garou," and could not be killed by ordinary means. But cunningly compounded poisons, charms, and incantations were all of no avail against this grizzly devastator. He made his weekly rounds and daily banquets as aforetime, and before many weeks had passed, Calone and Laloche gave up in despair and went elsewhere to hunt.

    In the spring of 1893, after his unsuccessful attempt to capture Lobo, Joe Calone had a humiliating experience, which seems to show that the big wolf simply scorned his enemies, and had absolute confidence in himself. Calone's farm was on a small tributary of the Currumpaw, in a picturesque canyon, and among the rocks of this very canyon, within a thousand yards of the house, Old Lobo and his mate selected their den and raised their family that season. There they lived all summer and killed Joe's cattle, sheep, and dogs, but laughed at all his poisons and traps and rested securely among the recesses of the cavernous cliffs, while Joe vainly racked his brain for some method of smoking them out, or of reaching them with dynamite. But they escaped entirely unscathed, and continued their ravages as before. "There's where he lived all last summer," said Joe, pointing to the face of the cliff, "and I couldn't do a thing with him. I was like a fool to him."

    Ernest Thompson Seton, Wild Animals I Have Known, "Lobo, the King of Currumpaw" (Passage 6: two more hunters) (1898). Public domain (published 1898). Source text.

Differentiation Strategies

For Struggling Students

  • Give a three-column tracker (Introduce, Illustrate, Elaborate) with the first quotation filled in for each column, and let them add one more quotation per column
  • Give sentence frames: "The author introduces ___ as ___ (paragraph __)." "The anecdote about ___ shows that ___." "Later, the author adds ___, which tells us ___."
  • Read Passage 3 aloud a second time and let them act out the anecdote with three volunteers (the cattle, Lobo, the cowboy) before they map it on Diagram 2

For Advanced Students

  • Ask them to find the place in Passages 1-4 where the picture of Lobo changes most, and explain whether the change is an illustration or an elaboration
  • Have them compare the stories other people tell about Lobo (Passages 1-3) with what Seton sees himself (Passage 4), and explain why he might put them in that order
  • Ask them to rewrite the opening paragraph of Passage 1 so that it starts with an anecdote, then explain what is gained and lost

Assessment Guidance

What to Look For

Check that students name the move (introduce, illustrate or elaborate) and then explain what it adds, instead of only retelling the passage. Strong answers tell an example from an anecdote by length and shape (a story has a beginning, a middle and an end), connect an anecdote back to the claim it proves, and notice when a later detail corrects or complicates the first picture. Every answer should quote the passage and give a paragraph number. Watch for students who treat Seton's guesses ("he seemed to say") as facts.

02

Classroom Activities

3 Activities

1

Introduce, Illustrate or Elaborate? Card Sort

15 minPairs

Pairs sort nine quotation cards from Passages 1-3 into three piles: Introduce, Illustrate and Elaborate. For each card, they write one sentence that says what it adds to the picture of Lobo.

The Nine Cards

  1. "And the king whose despotic power was felt over its entire extent was an old gray wolf." (Passage 1)
  2. "Old Lobo, or the king, as the Mexicans called him, was the gigantic leader of a remarkable pack of gray wolves" (Passage 1)
  3. "Old Lobo was a giant among wolves, and was cunning and strong in proportion to his size." (Passage 1)
  4. "One night in November, 1893, Blanca and the yellow wolf killed two hundred and fifty sheep, apparently for the fun of it" (Passage 2)
  5. "Lobo sat apart on a knoll, while Blanca with the rest was endeavoring to 'cut out' a young cow" (Passage 3)
  6. "they had carefully cut out and thrown aside all those parts that had been poisoned" (Passage 3)
  7. "The old idea that a wolf was constantly in a starving state [...] was as far as possible from the truth in this case" (Passage 2)
  8. "One thing only he feared--that was firearms" (Passage 2)
  9. "Lobo's habit of permitting the pack to eat only that which they themselves had killed, was in numerous cases their salvation" (Passage 2)

Procedure

  • Pairs sort the cards, then write one sentence for each card about what it adds
  • Pairs mark each Illustrate card as an example (one quick case) or part of an anecdote (a story)
  • Two pairs compare piles and settle any disagreement by rereading the paragraph around the card

Answer key: cards 1-3 introduce; cards 4-6 illustrate (card 4 is an example, cards 5 and 6 come from the cowboy's anecdote); cards 7-9 elaborate. Accept another pile if the pair's reason fits the text; for example, card 3 introduces a claim that Passage 3 later illustrates.

Discussion Questions

  • Card 7 does not tell a story or give a case. What does it do instead?
  • Cards 5 and 6 come from the same anecdote. Why does it take a whole story to show cunning, when one sentence was enough to show that the wolves were fussy eaters?
  • Which card changed your picture of Lobo the most, and why?

Modification

For students who need support, place cards 1, 4 and 7 in the three piles first as models, and have them sort the other six.

2

Profile in Three Moves

15 minIndividual, then pairs

Students write a short profile of a real or invented person, using all three moves, then trade with a partner who labels the moves. Writing the moves helps students recognize them when they read.

Model Profile (invented)

(1) Everyone at Oak Street School knows Mr. Okafor by his whistle before they see his orange vest. (2) Last February, when snow hid the crosswalk lines, he walked each group of first graders across the street himself, twenty-two trips before the bell. (3) He has been the crossing guard for nine years. (4) He learns every student's name by the second week, because he says a name makes a child look up and pay attention.

Labels: sentence 1 introduces; sentence 2 is an anecdote that illustrates; sentences 3 and 4 elaborate with a fact and an explanation.

Procedure

  • Each student writes 5-7 sentences: one introduction, one anecdote with a beginning, middle and end, and at least two elaborating details
  • Partners trade and label each sentence I (introduce), A (anecdote), E (example) or EL (elaborate)
  • Partners check whether the anecdote proves something the introduction claimed, and suggest one change

Discussion Questions

  • Did your introduction make a claim that your anecdote proved? If not, which one would you change?
  • Which of your elaborating details added the most new information?

Variation

Students profile an animal they have watched closely, such as a pet or a bird at a feeder, the way Seton profiles Lobo.

3

Who Says So? Reports and Firsthand Proof

10 minPairs

Pairs track where the information about Lobo comes from in Passages 1-4: what other people report and what Seton sees for himself. The order of sources is part of how Seton elaborates his picture.

Procedure

  • Pairs make a two-column chart: "Others report" and "Seton sees himself"
  • They copy phrases that show the source, for example "as the Mexicans called him" or "It was also known," and write the passage and paragraph number
  • They mark the first passage in which Seton reports what he saw with his own eyes

Teacher note: Passages 1-3 report what other people knew or saw ("All the shepherds and ranchmen knew him well," "It was also known," "one of the cowboys heard"). Passage 4 is Seton's own account ("I soon came on the fresh trail," "as measured a number of times").

Discussion Questions

  • Passages 1-3 report what other people knew or saw, and Passage 4 is Seton's own account. Why might Seton build the picture in that order?
  • Does the cowboy's anecdote in Passage 3 make you trust the reports in Passages 1 and 2 more or less? Why?
  • Which is more convincing to you, a measurement or a story? Explain.

03

Diagrams & Visual Aids

2 diagrams

Diagram 1: Introduce, Illustrate, Elaborate

Three moves for tracking a key individual Ask the question in each box, then find the words that answer it INTRODUCE How does the author first present it? First mention, names, labels, first impression Where? Which words? ILLUSTRATE What shows it in action? Example: one quick case Anecdote: a short story with a beginning and end What claim does it prove? ELABORATE What does the author add? Facts, numbers, reasons, corrections, the author's own observations What is new or changed? Analysis frame The author introduces ___ as ___ (par. __). An example or anecdote about ___ shows ___ (par. __). Later, the author adds ___, which tells us ___ (par. __).
The three moves of RI.6.3 as questions, with an analysis frame for writing about any key individual. Used in Direct Instruction with Passages 1 and 2 and kept on the board for the rest of the lesson.

Diagram 2: Anatomy of an Anecdote

Anatomy of an anecdote: the cowboy's story Passage 3, checked against the claim in Passage 1 CLAIM "cunning and strong in proportion to his size" Passage 1, par. 2 BEGINNING Cows stand with horns outward; the pack cannot break in Passage 3, par. 1 MIDDLE Lobo charges alone and throws the heifer to the ground Passage 3, par. 1 END The pack cuts out the poisoned parts of the carcass Passage 3, par. 2 What the story proves The middle shows strength; the end shows cunning. Seton's line "he seemed to say" is his guess, not something the cowboy heard, so keep it apart from what happened.
The cowboy's anecdote in Passage 3, split into its beginning, middle and end and linked back to the claim in Passage 1 that it illustrates. Used in Guided Practice.

04

Homework Assignment

~30 min

RI.6.3 Homework: How Seton Presents Lobo in "Two More Hunters"

Directions: Read Passage 6 at the end of the lesson plan (in Closure). It comes from the part of the story before Seton arrived, when two more hunters tried to win the reward for Lobo. Answer each problem in complete sentences, and quote the passage with a paragraph number whenever you use it.

Part 1: Introduced (Problems 1-2)

  1. Paragraph 1 introduces two new people, Calone and Laloche. What does Seton tell you about each of them, and why do you think he introduces them so briefly? (Hint: whose story is this?)
  2. Seton opens the whole story by describing the land and calling Lobo a "king." Write a different opening sentence that introduces Lobo through Joe Calone's summer (paragraph 2). Then explain, in two sentences, how your opening changes a reader's first impression of Lobo.

Part 2: Illustrated (Problems 3-4)

  1. The first sentence of paragraph 2 tells you what the anecdote about Joe Calone will show. Quote the words that state that claim. Then list the anecdote's beginning, middle and end in three short phrases.
  2. Joe Calone says, "I was like a fool to him." How does this quotation help the anecdote illustrate the claim you found in Problem 3? Why might it be stronger coming from Calone than from Seton?

Part 3: Elaborated (Problems 5-6)

  1. One hunter believed that Lobo was a "loup-garou," a werewolf. What does this belief add to the picture of Lobo? Is Seton telling readers that Lobo really was a werewolf? Use the sentence that begins "But cunningly compounded poisons" in your answer.
  2. Write one paragraph of 5-7 sentences that analyzes how Seton presents Lobo. Include one sentence each for how he introduces, illustrates and elaborates on Lobo. Use Passage 6 for at least one of the three moves, and cite a passage and paragraph number for each.

Rubric

CriterionFull Credit (2 pts)Partial Credit (1 pt)No Credit (0 pts)
IntroductionExplains how the individual is first presented and what first impression it createsNames the first mention but does not explain the impressionNo answer, or retells the passage
IllustrationFinds the claim and shows how the anecdote proves it, step by stepRetells the anecdote without linking it to the claimDoes not identify the anecdote
ElaborationExplains what a later detail adds or changes in the pictureNames a detail without saying what it addsNo elaborating detail
EvidenceExact quotations with passage and paragraph numbers in every answerSome quotations, or quotations without paragraph numbersNo quotations

05

Quiz: 20 Questions

Interactive, with answers

Instructions

Questions 1-4 and 19 are about introducing, illustrating and elaborating in general and give their own short examples. Questions 5-18 and 20 use Passage 5, "the traps," printed in Closure; questions 5, 12, 13, 15, 17 and 20 also look back at Passage 1 or 2. Choose the best answer for each multiple-choice question and write two to four sentences for each short answer.

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 of these sentences about a soccer coach is an anecdote?

  2. Question 2 of 20 · Multiple Choice

    In RI.6.3, what does it mean when an author elaborates on a key individual?

  3. Question 3 of 20 · Multiple Choice

    An article about a bridge engineer begins: "For thirty years, every car that crossed the Elm River rolled over something Rosa Diaz had drawn by hand." How does the author introduce Rosa Diaz?

  4. Question 4 of 20 · Multiple Choice

    A writer claims that the town library is always busy. Which sentence supports the claim with an example rather than an anecdote?

  5. Question 5 of 20 · Multiple Choice

    Passage 1 calls Lobo "cunning." Which words from Passage 5 best illustrate that trait?

  6. Question 6 of 20 · Multiple Choice

    Before telling what Lobo did, Seton describes how he and two men "worked a whole week" and "spared no labor or pains" to set the traps. How does this detail elaborate on Lobo?

  7. Question 7 of 20 · Multiple Choice

    How does Seton know what Lobo did at the first traps that night?

  8. Question 8 of 20 · Multiple Choice

    The second anecdote in Passage 5, about the traps set in the form of an H, has a beginning, a middle and an end. What happens at the end?

  9. Question 9 of 20 · Multiple Choice

    What does the sentence that begins "This he did on many other occasions" add to the two anecdotes?

  10. Question 10 of 20 · Multiple Choice

    What does the last part of Passage 5, about "an unfortunate alliance that proved his ruin," do in the story of Lobo?

  11. Question 11 of 20 · Multiple Choice

    Seton writes, "why or how he knew enough I cannot tell, the Angel of the wild things must have been with him." What does this admission add to the picture of Lobo?

  12. Question 12 of 20 · Multiple Choice

    Passage 1 introduces Lobo as a "king." Which words from Passage 5 fit that introduction best?

  13. Question 13 of 20 · Multiple Choice

    Passage 2 says that Lobo's keen scent could "detect the taint of human hands or the poison itself." How does Passage 5 elaborate on that claim?

  14. Question 14 of 20 · Multiple Choice

    Why does Seton tell a second trap story in Passage 5 instead of stopping after the first one?

  15. Question 15 of 20 · Short Answer

    Passage 1 introduces Lobo as a "king" whose power everyone feels. Write a different opening sentence that introduces Lobo the way Passage 5 shows him: as a careful thinker. Then explain in one or two sentences how your opening would change a reader's first impression.

  16. Question 16 of 20 · Short Answer

    Passage 5 contains two anecdotes. Choose the first one, about the first night after the traps arrived. Name what it illustrates about Lobo, and list its beginning, middle and end in three short phrases. Quote the passage at least once.

  17. Question 17 of 20 · Short Answer

    Passage 2 says that Lobo's band "lived and throve in spite of all the efforts of their foes." Explain how Passage 5 elaborates on that sentence. Use one quotation from each passage.

  18. Question 18 of 20 · Short Answer

    Seton could have written one sentence: "Lobo was too smart for traps." Explain why the anecdotes in Passage 5 are more convincing than that sentence would be.

  19. Question 19 of 20 · Short Answer

    A student writes this example about a pet: "Our dog Pepper always finds the treats we hide." Rewrite it as a short anecdote of two or three sentences, then explain what your anecdote shows that the example does not.

  20. Question 20 of 20 · Short Answer

    At the end of Passage 5, Seton adds Lobo's name to "the long list of heroes." In Passage 1, Lobo is a "despotic" king who "ravaged" the valley. How does calling Lobo a hero elaborate on, or change, the first picture of him?

0 of 20 answered · 0 correct

06

Frequently Asked Questions

10 Questions

What does RI.6.3 mean?

It means sixth graders must analyze in detail how a nonfiction text presents a key individual, event or idea. Students look at three moves: how the author introduces it, how the author illustrates it (often with examples or anecdotes) and how the author elaborates on it with further details. The analysis explains what each move adds, not only where it happens.

What is the difference between an example and an anecdote?

An example is one quick case; an anecdote is a short true story. An example often fits in a single sentence and has no sequence of events. An anecdote follows one incident from a beginning, through a middle, to an end. Both illustrate a claim, but an anecdote lets readers watch it happen.

What does "elaborated" mean in RI.6.3?

It means developed further after the introduction. Authors elaborate by adding facts and numbers, explaining causes, correcting a common belief, reporting later events or giving their own observations. A good test: if a detail tells readers something new about the individual, or changes how they see it, it is elaborating.

How is RI.6.3 different from RI.7.3?

RI.6.3 follows one key individual, event or idea through a text; RI.7.3 looks at how several of them affect each other. In grade 6, students track how one person or idea is introduced, illustrated and elaborated. In grade 7, they analyze the interactions, such as how an idea changes a person or how a person shapes an event.

Can the key individual be an animal, an event or an idea?

Yes. The standard names individuals, events and ideas, so the focus can be a person, an animal like Lobo, a storm, a discovery or a belief. The three moves work the same way for all of them: find the introduction, the examples or anecdotes and the later details that develop it.

Is "Lobo, the King of Currumpaw" nonfiction?

Yes, it is literary nonfiction: a true account told with the tools of a story. Seton wrote that there is "almost no deviation from the truth" in it, and he was the hunter who went after Lobo in 1893. He also admitted leaving "the strict line of historical truth" in other stories in the book, which makes a good discussion about how true stories are shaped.

What sentence frames help with RI.6.3?

One frame for each move works well: "The author introduces ___ as ___ (paragraph __)." "An example or anecdote about ___ shows that ___." "Later, the author adds ___, which tells us ___." Each frame asks for the effect, not only the location, which keeps answers from turning into summaries.

How is RI.6.3 usually assessed?

Usually with questions that ask how a detail, example or anecdote helps develop a person or idea, often paired with a second question asking for the evidence. Short written responses ask students to trace an individual through a passage. This lesson's quiz uses both kinds, plus questions that tell an example from an anecdote.

How is RI.6.3 different from RL.6.3?

RL.6.3 is about stories and dramas, and RI.6.3 is about nonfiction. RL.6.3 asks how a plot unfolds in episodes and how characters respond or change. RI.6.3 asks how a real person, event or idea is introduced, illustrated and elaborated. Literary nonfiction like Seton's sits between the two, which makes it good practice for both.

What mistakes do students make with RI.6.3?

A frequent mistake is retelling instead of analyzing. Students list what happens to the individual without saying what each part adds to the picture. Other mistakes are calling any detail an anecdote, even when there is no story, and treating the author's guesses, such as "he seemed to say," as facts.