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RI.9-10.7Common CoreELAReading Informational TextGrades 9-10

RI.9-10.7: Comparing Accounts of a Subject Across Mediums

In plain English: RI.9-10.7 is the Common Core ELA standard that asks students in grades 9-10 to analyze several accounts of the same subject told in different mediums, such as a person's life story in a book and in a documentary, and to determine which details each account emphasizes. Students look at what each account puts first, gives the most space or time, repeats, shows or leaves out. It is usually taught in English 9 or 10.

Analyze various accounts of a subject told in different mediums (e.g., a person's life story in both print and multimedia), determining which details are emphasized in each account.

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

01

Lesson Plan

60-75 min

Overview

Students analyze several accounts of one subject told in different mediums and determine which details each account emphasizes. The subject is the life of Matthew Henson, the African American explorer who was one of the six men at the camp Robert Peary called the North Pole on April 6, 1909. Students compare Henson's own printed account with Peary's and with two multimedia accounts written for this page: a documentary storyboard (shots, narration, music and on-screen text described in words) and a museum exhibit plan (a real photograph, labels, objects, an audio station and a touchscreen map).

The analysis is always about emphasis: what an account puts first or last, how many words or seconds it spends, whose voice it uses, what it shows or plays, and what it leaves out. Students measure some of this directly, in words per paragraph and seconds per shot, and they explain how each medium's tools shape what a reader, viewer or visitor remembers. No video is needed: the multimedia accounts are described in words so every class can use them.

Learning Objectives

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

  • Identify the medium of an account and the tools it uses to show emphasis (placement, space or time, voice, images and sound, labels)
  • Determine which details each of several accounts of the same subject emphasizes, and which it leaves out, citing words, shots or exhibit parts
  • Compare a person's life story told in print with the same life told in multimedia
  • Explain how the medium and the teller's point of view shape which details an account emphasizes

Prior Knowledge Required

Students should already be comfortable with:

  • Evaluating the advantages and disadvantages of different mediums for a topic RI.8.7
  • Citing strong and thorough textual evidence RI.9-10.1
  • Determining an author's point of view or purpose RI.9-10.6
  • Basic terms for film and exhibits: shot, narration, sound effect, caption, label

Lesson Procedure

60-75 minutes of class time across 5 phases.

  1. Warm-Up5-10 minutes

    Warm-Up Prompt

    "Think of a real person you have both read about and seen in a video, a film or a museum. Name one detail the video or exhibit showed you that the reading did not, and one detail the reading gave you that the video skipped."

    Collect answers in two columns, "only in print" and "only on screen or in the exhibit." Point out that the print column tends to hold reasons, dates and the person's own words, and the screen column tends to hold faces, places, sounds and moments. Tell students that RI.9-10.7 asks them to do this on purpose: compare accounts of one subject told in different mediums and decide which details each one emphasizes.

  2. Direct Instruction20 minutes

    Part 1: How each medium shows emphasis. A medium is the form an account takes: a printed book, a newspaper, an audio recording, a film, a museum exhibit. Multimedia combines several of these, such as images, sound, narration and on-screen text. An account emphasizes a detail when it gives that detail weight: it puts it first or last, spends many words or seconds on it, repeats it, or shows it with an image or a sound. A detail an account leaves out tells you something too.

    Where to look for emphasis in each medium
    ToolIn printIn multimedia
    PlacementWhat the account tells first and lastThe opening shot and the closing shot
    AmountNumber of sentences or words on a detailSeconds of screen time on a topic
    VoiceWhose words are quoted, and who says "I"Who narrates, whose words an actor reads
    SensesDescriptive words and images in the textPictures, maps, music and sound effects
    LabelsTitles, headings, captionsOn-screen text, titles, exhibit labels
    OmissionFacts the writer skipsFacts the film never shows or says

    Part 2: One life, two mediums. Introduce the subject: Matthew Henson (1866-1955), an African American explorer who traveled with Robert Peary on Arctic expeditions for more than twenty years and was one of the six men at the camp Peary called the North Pole in April 1909. Read Passage 1, the opening of Henson's 1912 autobiography, aloud. Then read Passage 2, a storyboard for a short documentary written for this page. A storyboard is the plan for a film, shot by shot: what viewers see, what they hear, what the narrator says and what text appears on the screen. Model the worked examples, then show Diagrams 1 and 2.

    When the news of the discovery of the North Pole, by Commander Peary, was first sent to the world, a distinguished citizen of New York City, well versed in the affairs of the Peary Arctic Club, made the statement, that he was sure that Matt Henson had been with Commander Peary on the day of the discovery. There were not many people who knew who Henson was, or the reason why the gentleman had made the remark, and, when asked why he was so certain, he explained that, for the best part of the twenty years of Commander Peary's Arctic work, his faithful and often only companion was Matthew Alexander Henson.

    To-day there is a more general knowledge of Commander Peary, his work and his success, and a vague understanding of the fact that Commander Peary's sole companion from the realm of civilization, when he stood at the North Pole, was Matthew A. Henson, a Colored Man.

    To satisfy the demand of perfectly natural curiosity, I have undertaken to write a brief autobiography, giving particularly an account of my Arctic work.

    I was born in Charles County, Maryland, August 8, 1866. The place of my birth was on the Potomac River, about forty-four miles below Washington, D. C. Slavery days were over forever when I was born. Besides, my parents were both free born before me, and in my mother's veins ran some white blood. At an early age, my parents were induced to leave the country and remove to Washington, D. C. My mother died when I was seven years old. I was taken in charge by my uncle, who sent me to school, the "N Street School" in Washington, D. C., which I attended for over six years. After leaving school I went to Baltimore, Md., where I shipped as cabin-boy, on board a vessel bound for China. After my first voyage I became an able-bodied seaman, and for four years followed the sea in that capacity, sailing to China, Japan, Manilla, North Africa, Spain, France, and through the Black Sea to Southern Russia.

    It was while I was in Washington, D. C., in 1888, that I first attracted the attention of Commander Peary, who at that time was a civil engineer in the United States Navy, with the rank of lieutenant, and it was with the instinct of my race that I recognized in him the qualities that made me willing to engage myself in his service. I accompanied him as his body-servant to Nicaragua. I was his messenger at the League Island Navy Yard, and from the beginning of his second expedition to the Arctic regions, in 1891, I have been a member of every expedition of his, in the capacity of assistant: a term that covers a multitude of duties, abilities, and responsibilities.

    Matthew A. Henson, Passage 1: A Negro Explorer at the North Pole, the opening of Chapter I (the first five paragraphs, complete) (1912). Public domain (published 1912). Source text.

    Shot 1 (0:00-0:25). Visual: Arlington National Cemetery in spring. The camera moves slowly past rows of white headstones and stops at Matthew Henson's headstone, a few steps from Robert Peary's tall monument. Sound: wind, then a single trumpet note. Narrator: "In 1988, almost eighty years after the North Pole expedition, Matthew Henson was reburied here, near the commander he had followed for more than twenty years." On-screen text: Arlington National Cemetery, 1988.

    Shot 2 (0:25-0:50). Visual: an animated map of Maryland. A dot appears on the Potomac River in Charles County, and a line carries it north to Washington, D.C. Sound: soft piano music. Narrator: "He was born here in 1866, the year after the Civil War ended. His parents moved the family to Washington, and his mother died when he was seven." On-screen text: Born August 8, 1866.

    Shot 3 (0:50-1:10). Visual: an engraving of a sailing ship, then a world map on which a line traces voyages to China, Japan, North Africa and the Black Sea. Sound: creaking wood, gulls, waves. Narrator: "As a boy he shipped out of Baltimore as a cabin boy, and he came home an able seaman."

    Shot 4 (1:10-1:30). Visual: an archival photograph of a Washington street in the 1880s, then a portrait of the young Robert Peary in a Navy uniform. Sound: street noise that fades out. Narrator: "Back in Washington, he met a young Navy engineer who needed a servant for a survey trip to Nicaragua." On-screen text: 1887 or 1888? Peary's book and Henson's book give different years.

    Shot 5 (1:30-2:10). Visual: a reenactment. Henson's hands bore holes in a sledge runner and thread sealskin lashings; a dog team pulls a loaded sledge across rough ice; Henson talks with Inuit hunters in their own language. Sound: dogs barking, runners scraping, wind. Narrator: "Over eighteen years in the Arctic, Henson built sledges, drove dogs and learned the language of the Inuit families who traveled with the expeditions." An actor reads a line from Henson's 1912 book: "I have come to love these people."

    Shot 6 (2:10-2:50). Visual: an animated map of the Arctic Ocean. A line moves north from Cape Columbia. On April 1, 1909, one branch turns back as Captain Bartlett's team heads south, and six small figures continue. The map dissolves into a reenactment of a silk flag rising over an igloo. Sound: wind and a slow drumbeat that grows louder. Narrator: "For the last five marches there were six: Peary, Henson, and four Inuit men, Ootah, Egingwah, Seegloo and Ooqueah." On-screen text: April 6, 1909: the camp Peary called the Pole.

    Shot 7 (2:50-3:30). Visual: front pages from September 1909 announcing that Peary had reached the Pole, then a photograph of Henson in later life. Sound: a telegraph key clicking, then silence. Narrator: "The headlines named Peary. Henson went back to ordinary work, and for more than twenty years he was a clerk in the U.S. Customs House in New York. In 1912 he told his own story in a book." On-screen text: A Negro Explorer at the North Pole (1912).

    Written for this page, Passage 2: Documentary storyboard, "Matthew Henson: The Sixth Man" (a planned 3 minute 30 second segment; an original account written for this page, not a real film). Original passage written for this page.
    • Print: what Henson puts first

      Henson does not begin with his birth. Paragraph 1 opens with a New York man who was "sure that Matt Henson had been with Commander Peary on the day of the discovery," and notes that "There were not many people who knew who Henson was."

      Result: Placement shows emphasis. Before telling his life, Henson emphasizes that the public barely knew him, so the autobiography reads as a correction written to "satisfy the demand of perfectly natural curiosity" (paragraph 3).

    • Print: details that build a self-portrait

      Paragraph 4 names the "N Street School," which he attended "for over six years," and lists voyages to "China, Japan, Manilla, North Africa, Spain, France, and through the Black Sea to Southern Russia." Paragraph 5 calls his job "assistant: a term that covers a multitude of duties, abilities, and responsibilities."

      Result: Henson emphasizes his schooling, his experience at sea before he met Peary, and the size of his job. The details present an educated, widely traveled man with many skills, not only a helper.

    • Multimedia: where the documentary starts

      Shot 1 of Passage 2 opens at Arlington National Cemetery in 1988: the camera moves past headstones to Henson's, near Peary's monument, and a single trumpet note sounds.

      Result: The film starts with how Henson was honored late, not with his birth. Camera movement, the setting and the trumpet tell viewers that this is a story about recognition before the narrator says a word.

    • Same facts, two mediums

      Henson's years at sea take one sentence in Passage 1. In Passage 2 they become Shot 3: a ship engraving, a map with a moving line, gulls and waves, and one sentence of narration.

      Result: Print keeps Henson's own voice and the full list of ports; the documentary drops most of the list but makes the distance visible. Each medium emphasizes a different side of the same facts: what he did, and how far he went.

    • Measuring emphasis: space and time

      Passage 1 has 468 words; paragraphs 1-2, about how little the public knew of Henson, have 157 of them. In Passage 2, Shots 1 and 7, about his burial and the headlines, fill 65 of 210 seconds (Diagram 2).

      Result: 157/468 is about 34 percent and 65/210 is about 31 percent. Both accounts give about a third of their length to recognition, but the documentary places it at both ends, the most emphatic positions, while Henson places it only at the start and then tells his own story.

  3. Guided Practice15 minutes

    Pairs read Passage 3, from Peary's own 1910 book about the expedition. It comes from a chapter in which Peary introduces each member of his team. Pairs highlight what Peary emphasizes about Bartlett in one color and about Henson in another, then add the results to the Detail Tracker (Activity 1).

    First and most valuable of all was Bartlett, master of the Roosevelt, whose ability had been proved on the expedition of 1905-6. Robert A. Bartlett, "Captain Bob," as we affectionately call him, comes from a family of hardy Newfoundland navigators, long associated with arctic work. He was thirty-three when we last sailed north. Blue-eyed, brown-haired, stocky, and steel-muscled Bartlett, whether at the wheel of the Roosevelt hammering a passage through the floes, or tramping and stumbling over the ice pack, with the sledges, or smoothing away the troubles of the crew, was always the same--tireless, faithful, enthusiastic, true as the compass.

    Matthew A. Henson, my negro assistant, has been with me in one capacity or another since my second trip to Nicaragua, in 1887. I have taken him with me on each and all of my northern expeditions, except the first, in 1886, and almost without exception on each of my "farthest" sledge trips. This position I have given him, primarily because of his adaptability and fitness for the work; secondly on account of his loyalty. He has shared all the physical hardships of my arctic work. He is now about forty years old, and can handle a sledge better, and is probably a better dog-driver, than any other man living, except some of the best of the Eskimo hunters themselves.

    Robert E. Peary, Passage 3: The North Pole, Chapter II, Peary's descriptions of Bartlett and Henson (two consecutive paragraphs, complete) (1910). Public domain (published 1910). Source text.

    Guide the pairs with three questions. (1) Peary describes Bartlett's looks, his family and his character ("true as the compass"). What does he describe about Henson instead? (2) Which details from Passage 1 does Peary leave out? (3) Passage 1 and Passage 3 give different years for the first meeting. How does the documentary in Passage 2 handle the difference? Students should notice that Peary emphasizes Henson's usefulness and loyalty to Peary ("secondly on account of his loyalty"), that school and sea years are absent, and that Shot 4 puts the conflict on the screen as a question instead of choosing a year.

  4. Independent Practice15-20 minutes

    Students now compare three accounts of the same days, April 3-7, 1909, in two mediums: Henson's printed account (Passage 4), Peary's printed account (Passage 5) and an imagined museum exhibit (Passage 6), which combines a real photograph, labels, objects, an audio recording and a touchscreen map. They answer the quiz on their own with the passages open. Some quiz questions also refer back to the documentary storyboard in Passage 2.

    It was during the march of the 3d of April that I endured an instant of hideous horror. We were crossing a lane of moving ice. Commander Peary was in the lead setting the pace, and a half hour later the four boys and myself followed in single file. They had all gone before, and I was standing and pushing at the upstanders of my sledge, when the block of ice I was using as a support slipped from underneath my feet, and before I knew it the sledge was out of my grasp, and I was floundering in the water of the lead. I did the best I could. I tore my hood from off my head and struggled frantically. My hands were gloved and I could not take hold of the ice, but before I could give the "Grand Hailing Sigh of Distress," faithful old Ootah had grabbed me by the nape of the neck, the same as he would have grabbed a dog, and with one hand he pulled me out of the water, and with the other hurried the team across.

    He had saved my life, but I did not tell him so, for such occurrences are taken as part of the day's work, and the sledge he safeguarded was of much more importance, for it held, as part of its load, the Commander's sextant, the mercury, and the coils of piano-wire that were the essential portion of the scientific part of the expedition. My kamiks (boots of sealskin) were stripped off, and the congealed water was beaten out of my bearskin trousers, and with a dry pair of kamiks, we hurried on to overtake the column. When we caught up, we found the boys gathered around the Commander, doing their best to relieve him of his discomfort, for he had fallen into the water also, and while he was not complaining, I was sure that his bath had not been any more voluntary than mine had been.

    When we halted on April 6, 1909, and started to build the igloos, the dogs and sledges having been secured, I noticed Commander Peary at work unloading his sledge and unpacking several bundles of equipment. He pulled out from under his kooletah (thick, fur outer-garment) a small folded package and unfolded it. I recognized his old silk flag, and realized that this was to be a camp of importance. Our different camps had been known as Camp Number One, Number Two, etc., but after the turning back of Captain Bartlett, the camps had been given names such as Camp Nansen, Camp Cagni, etc., and I asked what the name of this camp was to be--"Camp Peary"? "This, my boy, is to be Camp Morris K. Jesup, the last and most northerly camp on the earth." He fastened the flag to a staff and planted it firmly on the top of his igloo. For a few minutes it hung limp and lifeless in the dead calm of the haze, and then a slight breeze, increasing in strength, caused the folds to straighten out, and soon it was rippling out in sparkling color. The stars and stripes were "nailed to the Pole."

    Matthew A. Henson, Passage 4: A Negro Explorer at the North Pole, Chapter XV, April 3-6, 1909 (three consecutive paragraphs, complete) (1912). Public domain (published 1912). Source text.

    The last march northward ended at ten o'clock on the forenoon of April 6. I had now made the five marches planned from the point at which Bartlett turned back, and my reckoning showed that we were in the immediate neighborhood of the goal of all our striving. After the usual arrangements for going into camp, at approximate local noon, of the Columbia meridian, I made the first observation at our polar camp. It indicated our position as 89 deg. 57'.

    We were now at the end of the last long march of the upward journey. Yet with the Pole actually in sight I was too weary to take the last few steps. The accumulated weariness of all those days and nights of forced marches and insufficient sleep, constant peril and anxiety, seemed to roll across me all at once. I was actually too exhausted to realize at the moment that my life's purpose had been achieved. As soon as our igloos had been completed and we had eaten our dinner and double-rationed the dogs, I turned in for a few hours of absolutely necessary sleep, Henson and the Eskimos having unloaded the sledges and got them in readiness for such repairs as were necessary. But, weary though I was, I could not sleep long. It was, therefore, only a few hours later when I woke. The first thing I did after awaking was to write these words in my diary: "The Pole at last. The prize of three centuries. My dream and goal for twenty years. Mine at last! I cannot bring myself to realize it. It seems all so simple and commonplace."

    [...]

    Of course there were some more or less informal ceremonies connected with our arrival at our difficult destination, but they were not of a very elaborate character. We planted five flags at the top of the world. The first one was a silk American flag which Mrs. Peary gave me fifteen years ago. That flag has done more traveling in high latitudes than any other ever made. I carried it wrapped about my body on every one of my expeditions northward after it came into my possession, and I left a fragment of it at each of my successive "farthest norths": Cape Morris K. Jesup, the northernmost point of land in the known world; Cape Thomas Hubbard, the northernmost known point of Jesup Land, west of Grant Land; Cape Columbia, the northernmost point of North American lands; and my farthest north in 1906, latitude 87 deg. 6' in the ice of the polar sea. By the time it actually reached the Pole, therefore, it was somewhat worn and discolored.

    A broad diagonal section of this ensign would now mark the farthest goal of earth--the place where I and my dusky companions stood.

    [...]

    After I had planted the American flag in the ice, I told Henson to time the Eskimos for three rousing cheers, which they gave with the greatest enthusiasm. Thereupon, I shook hands with each member of the party--surely a sufficiently unceremonious affair to meet with the approval of the most democratic. The Eskimos were childishly delighted with our success. While, of course, they did not realize its importance fully, or its world-wide significance, they did understand that it meant the final achievement of a task upon which they had seen me engaged for many years.

    Robert E. Peary, Passage 5: The North Pole, Chapter XXXII, "We Reach the Pole" (the paragraphs on the later observations and on the other four flags are omitted where [...] appears; the excerpt ends before the record Peary left at the Pole) (1910). Public domain (published 1910). Source text.

    Title wall. Large letters read "Six at the Top of the World" over a photograph that fills the wall: the picture printed in Peary's 1910 book with the caption "Members of the party cheering the Stars and Stripes at the Pole, April 7, 1909." Five men in fur clothing, Ooqueah, Ootah, Henson, Egingwah and Seegloo, stand on the ice with flags. Peary does not appear in it.

    Label beside the photograph: "On April 6, 1909, six men camped at the place Robert Peary calculated to be the North Pole. Four were Inuit men from northwest Greenland, who drove the dogs, built the igloos and knew the ice. One was Matthew Henson, who had traveled with Peary for more than twenty years. Newspapers in 1909 wrote mostly about one man. This gallery is about six."

    Case 1. A full-size replica of the kind of sledge Henson built and repaired on the ice, with sealskin lashings. Beside it are a pair of sealskin boots (kamiks) and a shallow pan of mercury like the one Peary used as an artificial horizon when he measured the height of the sun with his sextant.

    Audio station. Visitors lift a handset and hear an actor read, in about one minute, Henson's account of falling into open water on April 3 and being pulled out by Ootah. A panel above the handset prints one line from it in large type: "He had saved my life, but I did not tell him so."

    Touchscreen map. Visitors drag a slider through the days from March 1 to April 6, 1909. Each day lights up a camp on the map and lists who was still traveling north, as the support teams turned back one by one.

    Final wall. A question in large letters, "Who reached the Pole?", and a board where visitors pin cards with their answers. Beneath it, a label lists what Peary had promised each Inuit man who went to the end: a whaleboat, a rifle, a shotgun, ammunition and knives.

    Written for this page, Passage 6: Museum exhibit plan, "Six at the Top of the World" (an original account written for this page; the exhibit is imagined, the photograph it describes is real). Original passage written for this page.
  5. Closure5-10 minutes

    Exit ticket: "Name one detail that Henson's account and Peary's account of April 6 both include, and one that only one of them includes. In one sentence, explain what the difference shows about what each writer emphasizes." Sort the tickets into "lists differences" and "explains emphasis" to plan the next lesson.

    Teacher note on language. The passages are quoted exactly as published in 1910 and 1912 and use the terms of their time: "negro" ("my negro assistant"), "colored man" and "a Colored Man" for Henson, "Eskimos" for the Inuit (the Inughuit of northwest Greenland), and "boys" for the grown Inuit men who traveled with Henson. Peary also calls the Inuit men "childishly delighted" and "my dusky companions," and the Foreword (Passage 7) speaks of Henson as a credit to "his race." A Negro Explorer at the North Pole is the historical title under which Henson's book was published in 1912; cite it exactly as a title, and explain that "Negro" was the respectful term in 1912 but is not used to describe people today. Say this before reading, use "Black" or "African American" and "Inuit" in discussion, and treat the old wording as evidence of each writer's point of view, which is part of what students analyze. The excerpts contain no slurs.

    Homework passage. Passage 7 is the Foreword Peary wrote for Henson's own book in December 1911. Students use it with Passages 1-3 for the homework.

    Friends of Arctic exploration and discovery, with whom I have come in contact, and many whom I know only by letter, have been greatly interested in the fact of a colored man being an effective member of a serious Arctic expedition, and going north, not once, but numerous times during a period of over twenty years, in a way that showed that he not only could and did endure all the stress of Arctic conditions and work, but that he evidently found pleasure in the work.

    The example and experience of Matthew Henson, who has been a member of each and of all my Arctic expeditions, since '91 (my trip in 1886 was taken before I knew Henson) is only another one of the multiplying illustrations of the fact that race, or color, or bringing-up, or environment, count nothing against a determined heart, if it is backed and aided by intelligence.

    Henson proved his fitness by long and thorough apprenticeship, and his participation in the final victory which planted the Stars and Stripes at the North Pole, and won for this country the international prize of nearly four centuries, is a distinct credit and feather in the cap of his race.

    As I wired Charles W. Anderson, collector of internal revenue, and chairman of the dinner which was given to Henson in New York, in October, 1909, on the occasion of the presentation to him of a gold watch and chain by his admirers:

    "I congratulate you and your race upon Matthew Henson. He has driven home to the world your great adaptability and the fiber of which you are made. He has added to the moral stature of every intelligent man among you. His is the hard-earned reward of tried loyalty, persistence, and endurance. He should be an everlasting example to your young men that these qualities will win whatever object they are directed at. He deserves every attention you can show him. I regret that it is impossible for me to be present at your dinner. My compliments to your assembled guests."

    Robert E. Peary, Passage 7: Peary's Foreword to A Negro Explorer at the North Pole (the first five paragraphs; the last four are omitted) (1912). Public domain (published 1912). Source text.

Differentiation Strategies

For Struggling Students

  • Give the Detail Tracker with the rows already labeled, and have students mark only "emphasized," "mentioned" or "absent" before writing explanations
  • Read Passages 4 and 5 aloud and gloss older words (lead, kamiks, kooletah, sextant, forenoon, pemmican) in the margin
  • Offer the frame: "Passage ___ emphasizes ___ by ___ (placing it first, spending ___ words or seconds, showing ___), while Passage ___ leaves it out."

For Advanced Students

  • Find a documentary or museum web page about Henson or another explorer and chart which details it emphasizes compared with the printed accounts here
  • Read more of Chapter XV of Henson's book and Peary's Chapter XXXII and track which events only one of them records
  • Write a storyboard for a second segment of the documentary in Passage 2 and justify each choice of emphasis

Assessment Guidance

What to Look For

Strong answers name the account and its medium, point to a specific detail (a quotation, a shot, an exhibit part), explain how that detail is emphasized (placement, amount, voice, image or sound, label) and compare it with another account. Watch for summaries that list what each account says without saying what it emphasizes, for claims about a medium in general ("videos are more exciting") that are not tied to a detail, and for missing attention to what an account leaves out.

02

Classroom Activities

3 Activities

1

Detail Tracker

20 minPairs

Pairs build a chart of the details in Passages 1, 2 and 3 and mark how strongly each account emphasizes each one. Their finished chart should look like Diagram 1, and pairs defend any mark that differs.

The Chart

Eight rows (birth and family; school and years at sea; the year he met Peary; what he is called; skill with dogs and sledges; loyalty; the Inuit companions; fame and recognition) and three columns (Passage 1, Passage 2, Passage 3). Each cell gets a mark, emphasized, mentioned or absent, and the words or shot that justify it.

Procedure

  • Fill in the column for Passage 1 together as a class, quoting the words for each mark
  • Pairs fill in the columns for Passages 2 and 3 on their own
  • Compare with Diagram 1 and circle any cell where your mark differs; be ready to defend it

Discussion Questions

  • Only two rows have a mark in all three columns: the year he met Peary and what he is called. Why might every account include those two details, even briefly?
  • Loyalty is emphasized only in Passage 3. What does that tell you about Peary's point of view?
  • Passage 1 leaves out two rows and Passage 3 leaves out three, and no row is left out by both. Which rows does each leave out, and what does each set of gaps show about the teller?

Variation for a Shorter Class

Give each pair only three rows and pool the results on a class chart.

2

Change the Medium

20 minGroups of 3

Groups turn one paragraph of Henson's print account into a single documentary shot, then compare their shot with the storyboard in Passage 2 to see what changes when a detail moves from print to multimedia.

The Paragraphs

Assign each group one paragraph of Passage 1: paragraph 1 (the New York man who was sure Henson was there), paragraph 2 (the "vague understanding" of the public), paragraph 4 (birth, school and sea) or paragraph 5 (meeting Peary and the word "assistant").

Procedure

  • On the four-box storyboard template, write the visual, the sound, the narration and the on-screen text for one shot of 20-30 seconds
  • Circle the one detail your shot emphasizes most and note one detail from the paragraph your shot leaves out
  • Post the storyboards and do a gallery walk; compare each with the matching shot in Passage 2, if there is one

Discussion Questions

  • Which details were hardest to show on screen? Which were easiest?
  • Paragraph 5 uses the word "assistant" and explains it. How could a documentary show that meaning without words?
  • What did your shot add that Henson's paragraph did not have?
3

Headline, Label, Caption

15 minGroups of 3-4

Groups tell one moment of Henson's life in three short mediums and discover how the space each medium allows forces choices of emphasis.

Procedure

  • Choose one moment from Passages 1-3, such as Henson's first voyage or his first meeting with Peary
  • Write it three ways on index cards: a newspaper headline of at most 10 words, a museum label of about 50 words, and a caption of at most 20 words for a photograph you describe in one sentence
  • Trade cards with another group, who must say which single detail survived in all three versions

Discussion Questions

  • Which detail did you keep in the headline, and why that one?
  • What could the museum label include that the headline could not?
  • How does a photograph change which words a caption needs?

Modification for Remote Classes

Groups post the three versions in a shared slide, one slide per group, and comment on another group's choices.

03

Diagrams & Visual Aids

2 diagrams

Diagram 1: Detail Map of Three Accounts of Henson's Life

Which details each account of Henson's life emphasizes Passage 1 Henson, print Passage 2 Documentary Passage 3 Peary, print Birth, parents, mother's death School and years at sea Year he met Peary Called servant or assistant Skill with dogs and sledges Loyalty Inuit companions Fame and recognition emphasized (a full sentence, paragraph or shot) mentioned briefly absent
Which details Passage 1 (Henson's autobiography), Passage 2 (the documentary storyboard) and Passage 3 (Peary's description) emphasize, mention briefly or leave out. Only two details appear in all three accounts. Loyalty is emphasized only in Peary's; Henson mentions it once, in the New York man's word "faithful."

Diagram 2: Screen Time by Topic in the Documentary Storyboard

Screen time by topic in the documentary storyboard (Passage 2), in seconds 0 10 20 30 40 50 60 70 Legacy and recognition (Shots 1, 7) 65 s Early life (Shots 2, 3) 45 s Meeting Peary (Shot 4) 20 s Arctic skills and Inuit (Shot 5) 40 s Journey to the Pole (Shot 6) 40 s Total running time 210 seconds; legacy and recognition get 65 seconds, about 31 percent.
Seconds of the 210-second storyboard in Passage 2 given to each topic, drawn to scale from the shot times. Legacy and recognition (Shots 1 and 7, at the opening and the close) get the most time. The times are part of the storyboard written for this page.

04

Homework Assignment

~30 min

RI.9-10.7 Homework: Peary's Foreword and Henson's Story

Directions: Use Passage 7 (Peary's Foreword to Henson's book) in the Closure phase of the lesson plan, together with Passages 1, 2 and 3. Paragraphs are numbered. Quote exact words, or name the shot, for every point. Answer Problems 1-5 in 3-5 sentences each; Problem 6 is a paragraph.

Part 1: What the Foreword Emphasizes (Problems 1-3)

  1. Peary opens the Foreword with the "fact of a colored man being an effective member of a serious Arctic expedition." Name three details about Henson that the Foreword emphasizes, quoting each, and one detail from Passage 1 that the Foreword leaves out.
  2. The telegram (paragraph 5) is addressed to "you and your race" and praises "tried loyalty, persistence, and endurance." In Passage 1, paragraph 5, Henson describes his own job as "assistant: a term that covers a multitude of duties, abilities, and responsibilities." Which qualities does each account emphasize, and what does the difference show about how each writer sees Henson?
  3. The Foreword is printed at the front of Henson's own book. How might reading it first shape the way a reader in 1912 reads Henson's life story in Passage 1? Name one detail in Passage 1 that gives a reader a different picture of Henson.

Part 2: Across Mediums (Problems 4-6)

  1. Compare the Foreword with the documentary storyboard (Passage 2). Name two details that the Foreword emphasizes and the storyboard leaves out, and two that the storyboard emphasizes and the Foreword leaves out. Explain how each medium, a printed foreword and a filmed documentary, shapes what it can emphasize.
  2. Plan one 30-second shot for the documentary based on paragraph 4 of the Foreword (the New York dinner of October 1909 and the gold watch). Give the visual, the sound, the narration and any on-screen text. Then explain what your shot would emphasize that the printed paragraph does not.
  3. Write a paragraph (150-200 words): Of the accounts of Henson's life on this page (Passages 1, 2, 3 and 7), which gives the fullest picture of who Henson was? Analyze which details each account emphasizes, and support your judgment with at least three quotations or shot references from at least two different mediums.

Rubric

CriterionFull Credit (2 pts)Partial Credit (1 pt)No Credit (0 pts)
Details and EvidenceNames specific details with exact quotations or shot numbersNames details with vague or missing evidenceNo details from the passages
EmphasisExplains how each detail is emphasized (placement, space, voice, image, sound) or left outSays what an account includes without explaining its emphasisSummary only
MediumConnects the emphasis to what the medium can and cannot doMentions the medium without connecting it to emphasisNo attention to the medium
ComparisonCompares at least two accounts clearly and reaches a supported judgmentCompares accounts unevenly or without a judgmentNo comparison

05

Quiz: 20 Questions

Interactive, with answers

Instructions

All questions are about Passages 4, 5 and 6 in the Independent Practice phase of the lesson plan (Henson's account, Peary's account and the museum exhibit plan); questions 13, 14, 19 and 20 also use the documentary storyboard in Passage 2 (Direct Instruction). Paragraphs are numbered. 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

    In paragraph 1 of Passage 4, which detail does Henson emphasize most?

  2. Question 2 of 20 · Multiple Choice

    Henson writes that "the sledge he safeguarded was of much more importance" than his own rescue. Why does he give the sledge more importance?

  3. Question 3 of 20 · Multiple Choice

    Paragraph 1 of Passage 5 gives the exact time ("ten o'clock on the forenoon of April 6") and a reading ("89 deg. 57'"). What do these details emphasize?

  4. Question 4 of 20 · Multiple Choice

    Peary quotes his diary: "The Pole at last. The prize of three centuries. My dream and goal for twenty years. Mine at last!" Which detail does this quotation emphasize?

  5. Question 5 of 20 · Multiple Choice

    How does Henson appear in the paragraphs of Passage 5?

  6. Question 6 of 20 · Multiple Choice

    Both Passage 4 and Passage 5 describe Peary's silk flag. Which detail appears only in Passage 5?

  7. Question 7 of 20 · Multiple Choice

    Which detail appears in Passage 4 but not in Passage 5?

  8. Question 8 of 20 · Multiple Choice

    Peary writes that the Inuit men "were childishly delighted with our success" and that "they did not realize its importance fully." What does this choice of words show about his account?

  9. Question 9 of 20 · Multiple Choice

    In Passage 6, which part of the exhibit puts Henson's own words at the center?

  10. Question 10 of 20 · Multiple Choice

    The title wall of Passage 6 uses a photograph in which Peary does not appear, and the label ends "This gallery is about six." What does the exhibit emphasize?

  11. Question 11 of 20 · Multiple Choice

    What can Case 1 in Passage 6 show visitors that a printed account cannot?

  12. Question 12 of 20 · Multiple Choice

    The touchscreen map in Passage 6 lists "who was still traveling north, as the support teams turned back one by one." Which part of the journey does this element emphasize?

  13. Question 13 of 20 · Multiple Choice

    Shot 7 of the documentary storyboard (Passage 2) includes a detail that neither Passage 4 nor Passage 5 includes. Which one?

  14. Question 14 of 20 · Multiple Choice

    The documentary's narrator says "For the last five marches there were six." Peary writes "I had now made the five marches planned." How do the two accounts present the same five marches differently?

  15. Question 15 of 20 · Short Answer

    Passage 4 (paragraph 3) and Passage 5 both describe the flag at the Pole. Explain what each account emphasizes about that moment, quoting both.

  16. Question 16 of 20 · Short Answer

    The audio station in Passage 6 plays Henson's account of his fall (Passage 4, paragraphs 1-2). What does hearing the account add to the exhibit, and what might a listener miss that a reader notices?

  17. Question 17 of 20 · Short Answer

    Which of Passages 4, 5 and 6 gives the Inuit men the most attention? Support your answer with two details and compare it with one of the other passages.

  18. Question 18 of 20 · Short Answer

    In September 1909, a rival explorer, Frederick Cook, had just announced that he reached the Pole in 1908, and many readers doubted one claim or the other. How might this help explain which details Peary emphasizes in Passage 5?

  19. Question 19 of 20 · Short Answer

    Compare Shot 6 of the documentary storyboard (Passage 2) with paragraph 3 of Passage 4. What does each medium let its author emphasize about April 6?

  20. Question 20 of 20 · Short Answer

    Write one new shot for the documentary in Passage 2, based on a detail from Passage 4 or Passage 5 that the storyboard leaves out. Give the visual, the sound and the narration, then explain what your shot would emphasize.

0 of 20 answered · 0 correct

06

Frequently Asked Questions

10 Questions

What does RI.9-10.7 mean?

RI.9-10.7 asks students to compare accounts of the same subject told in different mediums, such as a book, a documentary or an exhibit, and to work out which details each account emphasizes. "RI" means Reading Informational Text and "9-10" is the grade band. The official example is a person's life story told both in print and in multimedia.

What counts as a "different medium" for RI.9-10.7?

Any form an account can take: a printed book or article, a newspaper, an audio recording or podcast, a film or documentary, a website, a museum exhibit. Multimedia combines several, such as images, narration, music and on-screen text. Two print accounts by different writers are useful for comparison too, but the standard asks for at least one account in another medium.

How do students decide which details are "emphasized"?

They look at placement (what comes first and last), amount (how many words or seconds a detail gets), voice (whose words are used), senses (images, music, sound effects) and labels (titles, captions, on-screen text). They also note what an account leaves out, since omission shifts the emphasis to what remains. Counting words per paragraph or seconds per shot, as in Diagram 2, makes the idea concrete.

How is RI.9-10.7 different from RI.8.7?

RI.8.7 asks students to evaluate the advantages and disadvantages of using different mediums to present a topic. RI.9-10.7 moves from the medium in general to specific accounts: students analyze several accounts of one subject and determine which details each one emphasizes, so the evidence is always a particular detail in a particular account.

How is RI.9-10.7 different from RL.9-10.7?

RL.9-10.7 is the literature standard: it compares a subject or scene in two artistic mediums, such as a poem and a painting. RI.9-10.7 works with informational accounts, such as autobiographies, biographies, documentaries, news reports and exhibits, where the question is which facts and moments each account chooses to emphasize.

Do students need to watch a video to practice RI.9-10.7?

No. A storyboard, a transcript or a written plan of an exhibit shows what a multimedia account includes, and students can analyze it the same way. This page describes its documentary and exhibit in words. Teachers who have a documentary they are allowed to show can use the same Detail Tracker with it.

Why use Matthew Henson's story for this standard?

Henson's life was told in very different ways by different tellers: by Henson himself in 1912, by Peary in 1910, and later by films, museums and his 1988 reburial at Arlington National Cemetery. The accounts disagree about what matters, and even about the year the two men met, so students can see emphasis clearly. Both books are in the public domain, so the page can quote them.

How should teachers handle the language in Peary's and Henson's accounts?

Name it before reading. The 1910 and 1912 texts use terms of their time, such as "negro," "colored man" and "Eskimos," and Peary describes the Inuit men as "childishly delighted" and "dusky." Henson's book keeps its historical 1912 title, A Negro Explorer at the North Pole, which the page cites exactly as a title. The lesson quotes the texts exactly, uses "African American" and "Inuit" in discussion, and treats the wording as evidence of each writer's point of view.

How is RI.9-10.7 assessed?

Classroom and state assessments may pair a passage with a description, image or video of another account and ask which details each emphasizes, what one includes that the other leaves out, or why an author or filmmaker chose a detail. Written answers are judged on specific details, quoted or located, and on an explanation of how each detail is emphasized.

How can students practice RI.9-10.7 at home?

Choose a person or event and find two accounts in different mediums, for example a biography chapter and a short documentary or a museum's web page. List what each account puts first and last, what it spends the most time on and what it leaves out. Then ask why the teller made those choices.