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CHAPTER 1
Setting and Plot
I N F O R M AT I O N A L T E X T F O C U S

Notes, Outlines, and

Summaries

California Standards
Here are the Grade 6 standards you will work toward mastering in Chapter 1.
Word Analysis, Fluency, and Systematic Vocabulary Development
1.4 Monitor expository text for unknown words or words with novel meanings by
using word, sentence, and paragraph clues to determine meaning.
Reading Comprehension (Focus on Informational Materials)
2.4 Clarify an understanding of texts by creating outlines, logical notes, summaries,
or reports.
Literary Response and Analysis
3.3 Analyze the influence of setting on the problem and its resolution.
Writing Applications (Genres and Their Characteristics)
2.1 Write narratives:
a. Establish and develop a plot and setting and present a point of view that is
appropriate to the stories.
b. Include sensory details and concrete language to develop plot and character.
c. Use a range of narrative devices (e.g., dialogue, suspense).

“You never find yourself until you face the truth.”

—Pearl Bailey

How can discovering a tough truth

help you gain a better understanding
of who you are as a person?
Learn It Online
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help you take notes:
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Setting and Plot 3

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LITERARY RESPONSE AND ANALYSIS

Literary Skills Focus

by Linda Rief

What Are Setting and Plot?

Everybody has stories: your great-grandfather’s survival of a Plot Structure
submarine attack during World War II; your neighbor’s rescue Climax
of three hikers stranded on a mountain in a blizzard; an embar- Event
rassing moment in class last year. The more vividly a storyteller
Event Resolution
describes what happened—the plot—and where and when it
happened—the setting—the better the listeners or readers can Event
imagine and experience the story.
Basic Situation

Setting Plot
The setting is where (the place) and when (the “What happened?” When you answer this ques-
time) the action of a story takes place. Some stories tion about a story, you’re describing the plot—the
could take place almost anywhere, but sometimes series of related events that make up the story. A
setting is so essential to a plot that the story could plot usually has four key parts. The diagram above
not possibly take place anywhere else. The setting will help you visualize a plot’s structure.
can influence, or affect, a story in several ways:
1. Basic situation Most plots begin with a set-
1. Setting can influence the story’s
up of the story’s basic situation. You learn what
problem and its resolution. In many stories
you need to know to follow the story as it unfolds.
the characters are in an external conflict with the
The basic situation answers these questions:
setting, as when a character is lost in a blizzard or
struggles to survive on a deserted island. If the • Who is the main character?
character triumphs over the problem posed by the • What does the main character want?
setting, the story has a happy resolution. If the set- • What stands in the character’s way? In other
ting is more powerful than the character, the story’s words, what is his or her problem, or conflict?
resolution can be tragic. Conflict is the struggle that makes a story inter-
2. Setting can give a story a sense of esting and keeps you reading to see what hap-
reality. Vivid details can make a setting seem pens next. There are two main types of conflict:
very real to you, helping you imagine how people • In an external conflict the main character
live, what they eat, how they dress, and where they struggles against a force outside the character.
work. The main character might clash with another
character or with a situation, such as a danger-
3. Setting can create atmosphere. Writers ous ice storm or a badly damaged spaceship.
often use setting to create an atmosphere, or
mood: creepy, peaceful, joyous, threatening.

4 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

• An internal conflict takes place within a

The Moose took the ball and cradled it in
character. This kind of conflict comes from a
his right hand. So far, so good. He hadn’t
struggle inside the character—to overcome
fumbled. . . .
fear, for example, or to exercise self-control.
He ran a couple of steps and looked out
Think about this story opener, which presents a
in front and said aloud, “Whoa!”
character named Margot facing two problems—
Where had all those tacklers come from?
one with other characters and the other with the
from “Just Once”
setting, her rain-soaked alien environment: by Thomas J. Dygard

It had been raining for seven years;

4. Resolution The final part of the plot, in
thousands upon thousands of days com-
which events are wrapped up and the story
pounded and filled from one end to the
comes to a conclusion, is the resolution. Here the
other with rain. . . .
main character’s problem is solved—sometimes
Margot stood apart from them, from
happily, sometimes not. What does the sentence
these children who could never remember
below reveal about the story’s resolution?
a time when there wasn’t rain and rain
and rain.
The Moose glanced at the coach, took an-
from “All Summer in a Day”
by Ray Bradbury other deep breath, and said, “Never again.”
from “Just Once”
by Thomas J. Dygard
2. Complications If a story’s conflict could be
resolved easily, there wouldn’t be much of a story.
That’s why writers introduce complications to the
plot. Complications are additional problems that
arise and prevent the main character from resolv- Your Turn Analyze Setting and Plot
ing the conflict. 1. Identify a story in which setting plays a cru-
cial role. Try to think of a story in which a
“Oh, but,” Margot whispered, her eyes character struggles with a setting that threat-
helpless. “But this is the day, the scientists ens his or her life. Then, analyze how the
predict, they say, they know, the sun . . .” setting influences the problem and its resolu-
“All a joke!” said the boy, and seized her tion.
roughly. “Hey everyone, let’s put her in a
2. Trace the plot of a book, movie, or short story
closet before teacher comes!”
you know well by filling out a plot diagram
from “All Summer in a Day”
by Ray Bradbury like the one on page 4.

3. Climax A strong plot pulls you in and moves

you along toward the climax, the most exciting
part of the story. In the climax you find out how Learn It Online
Try the PowerNotes version of this lesson on:
the conflict will be resolved, or worked out.
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Literary Skills Focus 5

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Reading Skills Focus

by Kylene Beers

What Skills Help You Analyze

Setting and Plot?
Good readers know what to do when asked to analyze setting
and plot. They think about the story they read by sequencing
important events, retelling the plot, and summarizing. As you
practice using these reading skills, they are likely to become
a habit—a very good habit for understanding and enjoying
literature.

Sequencing Retelling
Sequence is the order of events in a story. Most Have you ever stopped after reading a difficult
stories are written in chronological order, or logi- part of a story to think about what you just read?
cal time order, as when a writer tells what hap- If you’ve tried to describe what just happened in
pened in the course of a day. As you read, watch order to check your understanding, then you’ve
for words and phrases such as later and earlier in used a strategy called retelling. Retelling helps
the day. They signal when events occur and are you identify the sequence of events in a story
clues to help you in sequencing the plot. and understand how those events are connected.
Retelling can also help you identify and analyze
Tips for Sequencing When you review a story, the way the setting influences, or affects, the plot.
ask yourself these questions:
• What are the story’s key events? Tips for Retelling a Story
• When did each event happen? • As you read, pause for a moment when some-
• Did one event cause another event to thing important in the story occurs or when
happen? How do you know? you feel confused about what you just read.
• Then, review in your mind what just hap-
Using a Sequence Chart Show the order of pened in the story, re-reading the passage if
events in a story by filling in a chart like this: necessary.
• Finally, describe the events in your own words.
Sequence You might write down your retellings in your
1. Describe the first important event. Reader/Writer Notebook.

2. Describe the second important event.

3. Describe the third important event.

Keep adding events in order until the story’s end.

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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

Use this retelling sheet to help you successfully

Summarizing
retell the plot of any story:
You can summarize any piece of writing, fiction or
Retelling Sheet nonfiction. When you summarize a short story,
1. Basic situation you restate its main events in your own words.
Summarizing is similar to retelling, but it involves
Begin with the title and author of the story. Then, identify the
identifying only the most important characters,
setting—where and when the story takes place. Tell the char-
acters’ names, and explain how the characters are connected to events, and details. A good summary is shorter
one another. Explain what the main character wants to do. than a retelling and much shorter than the origi-
nal story, since it includes only those key events
2. Conflict that make up the plot and show the influence
What is the main character’s conflict, or problem? In other words, of the setting on the problem and the problem’s
what is keeping the main character from getting what he or she resolution.
wants? How does the setting add to the problem?
3. Complications Tips for Summarizing a Short Story
Describe the main events—what happens as characters try to • Every few paragraphs, stop and try to restate
solve the conflict and roadblocks develop. in a sentence or two what the author wrote.
4. Climax • When you’re finished, go back and delete any
Describe the climax, the most suspenseful moment, when you details that don’t seem crucial to the plot.
discover either how the main character will overcome the conflict • Try to make your summary one page long
or how the main character will be defeated. at most. Sometimes you can summarize an
5. Resolution entire short story in a single paragraph.
Tell what happens after the climax. How does the story end?
How does the setting influence the resolution?

When you’ve finished a written retelling of a story,

Your Turn Apply Reading Skills
you can also add a personal response—your own 1. Explain why identifying the sequence of
thoughts and feelings about the story. events in a plot is necessary for understand-
ing a story.
Using Time-Order Words A retelling should 2. Retell a favorite story. Then, summarize the
provide a clear and interesting presentation of story, including the influence of the setting,
a story. Avoid linking the events with a string of in a paragraph or two.
ands. There is nothing as boring as an account of
a story in which “and” and “and then” are repeated Now go to the Skills in
over and over. Here are some good time-order Action: Reading Model
words to use instead:
Learn It Online
then additionally last Find interactive graphic organizers to help you with
after that following that first sequencing and other reading skills at:
next as a result finally [Link] H6-7 Go

Reading Skills Focus 7

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SKILLS IN ACTION
NOVEL EXCERPT

Read with a Purpose Read this story

to see how Priscilla handles the bullies at her school.

Play Audio Priscilla

and the Wimps
by Richard Peck

L
isten, there was a time when you couldn’t even go to
the rest room in this school without a pass. And I’m not
Setting The first sentence talking about those little pink tickets made out by some
reveals that the story is set in a teacher. I’m talking about a pass that could cost anywhere up to
school. The time period is not as a buck, sold by Monk Klutter.
obvious, but as you read further, Not that Mighty Monk ever touched money, not in public.
look for details that signal that the The gang he ran, which ran the school for him, was his collec-
story takes place before you were tion agency. They were Klutter’s Kobras, a name spelled out in
born. (It was written in the late
nailheads on six well-known black plastic windbreakers.
1970s.)
Monk’s threads were more . . . subtle. A pile-lined suede battle
jacket with lizard-skin flaps over tailored Levis and a pair of

8 Chapter 1
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ostrich-skin boots, brassed-toed and suitable for kicking people

around. One of his Kobras did nothing all day but walk a half step
behind Monk, carrying a fitted bag with Monk’s gym shoes, a roll
of restroom passes, a cashbox, and a switchblade that Monk gave
himself manicures with at lunch over at the Kobras’ table.
Speaking of lunch, there were a few cases of advanced mal-
nutrition among the newer kids. The ones who were a little slow
in handing over a cut of their lunch money and were therefore
barred from the cafeteria. Monk ran a tight ship.
I admit it. I’m five foot five, and when the Kobras slithered
by, with or without Monk, I shrank. I admit this, too: I paid up
on a regular basis. And I might add: so would you.
This school was old Monk’s Garden of Eden.1 Unfortunately
for him, there was a serpent in it. The reason Monk didn’t rec-
ognize trouble when it was staring him in the face is that the
serpent in the Kobras’ Eden was a girl.
Practically every guy in school could show you his scars. Plot The writer provides infor-
Fang marks from Kobras, you might say. And they were all mation about the basic situation
of the story. Peck identifies the
highly visible in the shower room: lumps, lacerations,2 blue
main characters and explains the
bruises, you name it. But girls usually got off with a warning. central problem: Students are
Except there was this one girl named Priscilla Roseberry. being bullied by a gang. As you
Picture a girl named Priscilla Roseberry, and you’ll be light read, look for complications—
years off. Priscilla was, hands down, the largest student in our new problems—that influence,
particular institution of learning. I’m not talking fat. I’m talk- or affect, the main characters.
ing big. Even beautiful, in a bionic3 way. Priscilla wasn’t inclined
toward organized crime. Otherwise, she could have put together
a gang that would turn Klutter’s Kobras into garter snakes.
Priscilla was basically a loner except she had one friend.
A little guy named Melvin Detweiler. You talk about The Odd
Couple. Melvin’s one of the smallest guys above midget status
ever seen. A really nice guy, but, you know—little. They even
had lockers next to each other, in the same bank as mine. I don’t
know what they had going. I’m not saying this was a romance.
After all, people deserve their privacy.
1. Garden of Eden: In the Bible, the paradise where Adam and Eve first
lived.
2. lacerations (las uh RAY shuhnz): cuts.
3. bionic (by AHN ihk): having artificial body parts; in science fiction,
bionic parts give people superhuman strength or other powers.

Reading Model 9
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Reading Model
Priscilla was sort of above everything, if you’ll pardon the
pun.4 And very calm, as only the very big can be. If there was
anybody who didn’t notice Klutter’s Kobras, it was Priscilla.
Until one winter day after school when we were all grab-
bing our coats out of our lockers. And hurrying, since Klutter’s
Sequencing Pay attention to the
Kobras made sweeps of the halls for after-school shakedowns.
order of events in the story. Peck Anyway, up to Melvin’s locker swaggers one of the Kobras.
uses the phrase Until one winter Never mind his name. Gang members don’t need names.
day to signal the timing of a new They’ve got group identity. He reaches down and grabs little
event that changes the relation- Melvin by the neck and slams his head against his locker door.
ship between Priscilla and the The sound of skull against steel rippled all the way down the
Kobras. Watch for the sequence
locker row, speeding the crowds on their way.
of events that follows.
“Okay, let’s see your pass,” snarls the Kobra.
“A pass for what this time?” Melvin asks, probably
still dazed.
“Let’s call it a pass for very short people,” says the Kobra, “a
dwarf tax.” He wheezes a little Kobra chuckle at his own witti-
ness. And already he’s reaching for Melvin’s wallet with the hand
that isn’t circling Melvin’s windpipe. All this time, of course,
Melvin and the Kobra are standing in Priscilla’s big shadow.
She’s taking her time shoving her books into her locker and
pulling on a very large-size coat. Then, quicker than the eye,
she brings the side of her enormous hand down in a chop that
breaks the Kobra’s hold on Melvin’s throat. You could hear a pin
Retelling This is an important drop in that hallway. Nobody’d ever laid a finger on a Kobra, let
event in the story. Retell impor- alone a hand the size of Priscilla’s.
tant events in your own words to
Then Priscilla, who hardly ever says anything to anybody
make sure you understand what
happened. For example: “Priscilla
except Melvin, says to the Kobra, “Who’s your leader, wimp?”
puts her books away and then This practically blows the Kobra away. First he’s chopped by
chops the Kobra’s hand, breaking a girl, and now she’s acting like she doesn’t know Monk Klutter,
his grip on Melvin. Afterward, the the Head Honcho of the World. He’s so amazed, he tells her.
hallway is really quiet because no “Monk Klutter.”
one had ever hit a Kobra before.” “Never heard of him,” Priscilla mentions. “Send him to see
me.” The Kobra just backs away from her like the whole situa-
tion is too big for him, which it is.
4. pun: humorous play on words, often involving two meanings of the
same word or phrase.

10 Chapter 1
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Pretty soon Monk himself slides up. He jerks his head once,
and his Kobras slither off down the hall. He’s going to handle
this interesting case personally. “Who is it around here doesn’t
know Monk Klutter?” Plot The climax is the story’s
He’s standing inches from Priscilla, but since he’d have to most suspenseful moment, when
look up at her, he doesn’t. “Never heard of him,” says Priscilla. you find out how the problem,
or conflict, will be resolved. This
Monk’s not happy with this answer, but by now he’s spotted
story’s climax is a confrontation
Melvin, who’s grown smaller in spite of himself. Monk breaks between Monk and Priscilla.
his own rule by reaching for Melvin with his own hands. “Kid,”
he says, “you’re going to have to educate your girl friend.”
His hands never quite make it to Melvin. In a move of pure
poetry Priscilla has Monk in a hammerlock. His neck’s popping
like gunfire, and his head’s bowed under the immense weight of
her forearm. His suede jacket’s peeling back, showing pile.
Priscilla’s behind him in another easy motion. And with
a single mighty thrust forward, frog-marches Monk into her Summarizing Remember that
own locker. It’s incredible. His ostrich-skin boots click once in summarizing involves identifying
the air. And suddenly he’s gone, neatly wedged into the locker, only the key events. This para-
a perfect fit. Priscilla bangs the door shut, twirls the lock, and graph can easily be summarized
strolls out of school. Melvin goes with her, of course, trotting in one sentence: “Priscilla shoves
along below her shoulder. The last stragglers leave quietly. Monk into her locker, locks him
in, and then leaves with Melvin.”
Well, this is where fate, an even bigger force than Priscilla,
steps in. It snows all that night, a blizzard. The whole town ices
up. And school closes for a week.
Setting These sentences sug-
Read with a Purpose How does Priscilla deal with the bullies in this gest how the setting influences
story? How else could she have handled them? the resolution of the conflict, or
problem. You can predict that
Monk might be trapped in the
locker for a while.
Connecting to the Text
Which of Priscilla’s character
traits, as described in the
story, do you see in this
photograph?

Reading Model 11
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Reading Model

MEET THE WRITER

Richard Peck
(1934– )
• Taught by His Students
Newbery As a high school English teacher, Richard Peck became
Medal
WINNER familiar with the reading habits of his teenage students:
“It was my students who taught me to be a writer,
though I had been hired to teach them. They taught me that a novel
must entertain first before it can be anything else.”

Although Peck liked his students and found their lives fascinating, he
eventually decided the classroom wasn’t the best place for him. He
wanted to write young adult fiction—novels for readers around his
students’ ages. He has written more than thirty-two books to date, all
of them on a typewriter. Before he left teaching, however, he learned
about far more than his audience’s taste in stories; he also learned
about the problems that young people face both inside and outside
of school. His books have been praised for dealing with such prob-
lems bravely and realistically.

Asking Honest Questions

Peck writes about tough topics, such as peer pressure, censorship,
and death. He says that a goal of his writing is to “ask honest ques-
tions about serious issues.” Although the answers to such questions
aren’t always pleasant, dealing with serious issues is a part of growing
up. Peck hopes that his books help young people do just that. In his
young adult novels he hopes that “the reader meets a worthy young
character who takes one step nearer maturity, and he or she takes
that step independently.”

“A novel is never an answer; it’s always a question.”

Peck wants his writing to “ask honest

questions about serious issues.” In his story
“Priscilla and the Wimps,” what questions
does he raise about bullying?

12 Chapter 1
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SKILLS IN ACTION Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

Into Action: Sequencing Writing Skills Focus

Draw and complete a diagram like this one to
trace the sequence of events in “Priscilla and the
Think as a Reader/Writer
In Chapter 1, the Writing Skills Focus activities
Wimps”:
explain how writers create interesting plots and
Climax memorable settings. You’ll have a chance to write
about these methods and practice them yourself.
Event
Event Resolution
Academic Vocabulary for Chapter 1
Event

Basic Situation Talking and Writing About Setting

and Plot
Talk About . . . Academic Vocabulary is the language you use to write and talk
1. Retell your favorite part of “Priscilla and the about literature. Use these words to discuss the stories you read
Wimps” to a partner. Then, explain why you in this chapter. The words are underlined throughout the chapter.
liked the story. In your explanation, try to achieve (uh CHEEV) v.: succeed in getting a good result or in doing
use each Academic Vocabulary word listed something you want. The main character’s struggle to achieve
on the right at least once. something produces the conflict in a story.
influence (IHN flu uhns) n.: ability or power to affect thought,
Write About . . . behavior, or development. The setting of a story often has a strong
Answer the following questions about “Priscilla
influence on the plot.
and the Wimps.” For definitions of the underlined
Academic Vocabulary words, see the column on interact (ihn tuhr AKT) v.: talk to and deal with others. Problems
the right. can develop when characters who don’t get along interact.

2. What is the major conflict in the story? major (MAY juhr) adj.: very large and important, especially com-
What is the influence of the setting on this pared with other things of a similar kind. The major event in a
story is the climax.
conflict?
3. How does Priscilla interact with Melvin,
with other students who are not Kobras,
and with the Kobras?
Your Turn
Copy the Academic Vocabulary words
4. What does Priscilla achieve for all students
into your Reader/Writer Notebook. Then,
when she defeats Monk?
write a paragraph summarizing the plot and
the influence of the setting in another story.
Use each Academic Vocabulary word at least
once in the paragraph.

Wrap Up 13
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SHORT STORY

Just Once
by Thomas J. Dygard

Black Shirts (1974) by Leroy Neiman.

How can achieving QuickWrite
something you think Write about some of your dreams or goals in your
you want turn out Reader/Writer Notebook. Choose one, and explain what
unexpectedly? would be the best thing about achieving it.

14 Chapter 1
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Reading Standard 3.3 Analyze the
Reader/Writer influence of setting on the problem and its
Notebook resolution.
Use your RWN to complete the
activities for this selection.

Literary Skills Focus

Plot and Setting Most plots are built on these bare bones: The basic Vocabulary
situation tells who the main characters are and defines their problem, devastating (DEHV uh stay tihng)
or conflict—a struggle, or clash, between opposing characters or oppos- adj.: causing great damage. The
ing forces. Complications arise as the characters interact, taking steps Moose’s devastating offensive move
to overcome the conflict. As the story builds to a climax, the peak of the shocked the opposing team.
action, you see where the story is going. The resolution tells how the nurturing (NUR chuhr ihng) v.:
problem is solved. keeping alive. The Moose’s friends
guessed that he had been nurturing
In this story a high school football player has a dream he wants his dream for a while.
to achieve. His campaign to make his dream come true creates a con-
anonymous (uh NAHN uh muhs) adj.:
flict. As you read, think about how the setting—when and where the
unknown; unidentified. The Moose
story takes place—influences the story’s conflict and resolution.
was tired of being anonymous.
tolerant (TAHL uhr uhnt) adj.:
Reading Skills Focus patient; accepting of others. A less
Retelling You can use retelling to help you recall and understand the tolerant coach would be angry.
major events in a story. Retelling will also help focus your awareness of ponder (PAHN duhr) v.: think over
the main character’s problems. carefully. Coach Williams walked off
to ponder the Moose’s request.
Into Action Use a retelling chart like this one to trace the main char-
acters’ problems:

Who or what is in Describe what’s

conflict? happening
Parts of Speech You will probably
The Moose has a conflict, The Moose wants to carry the use the word influence often as you
or problem, with his coach. ball, but his coach won’t let him discuss the stories in this chapter.
because Moose is a lineman. Influence can be a noun or a verb:
1. The setting had a strong
Writing Skills Focus influence (noun) on the story’s
resolution.
Think as a Reader/Writer 2. The setting strongly influences
Find It in Your Reading Much of what you learn about the Moose,
(verb) the story’s resolution.
the main character in “Just Once,” is provided by the narrator, the voice
telling the story. As you read, record what the narrator reveals about the Read Standard 3.3 at the top of this
Moose and what the Moose wants. How does this information help you page. In that sentence, is influence a
fully understand the problem the Moose faces? noun or a verb?

Learn It Online
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Preparing to Read 15
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MEET THE WRITER Build Background

In this story you’ll read about a talented

Thomas J. Dygard football player who is part of his team’s

offensive line. In football the offensive
(1931–1996) linemen block for other players and do
not carry the ball themselves. Although
“I’m Not a Writer. I’m a Rewriter.” the job they do is important, it isn’t
For Thomas J. Dygard, writing and editing newspaper articles always a position that gets much atten-
was a full-time job, but writing novels was what he loved most. tion. During running plays the offensive
Dygard wrote seventeen novels, all related to sports, for young linemen try to clear the way for
people. Despite his years of working with words, he said he a running back to carry the ball and
always considered writing a challenge. gain yards. The running back often gets
Dygard worked as a reporter and bureau chief for the the glory, while the linemen are the
Associated Press, a news agency. He published his first novel, “unsung heroes.”
Running Scared, in 1977 and continued to publish one book a
year until 1986.
Preview the Selection
In “Just Once” you’ll meet the Moose,
“My mistakes in my writing are so common that I’d the nickname of the high school senior
Bryan Jefferson Crawford. The Moose
bet I’ve thrown more pieces of paper in a waste-
is a lineman on the Bedford City Bears
basket than any person alive. I’m not a writer. I’m a high school football team. You’ll also
rewriter. As for having learned it all, I know that I meet Coach Buford Williams and the
Moose’s teammates, Jerry Dixon, Dan
haven’t, and I also know that I never will.” Blevins, and Larry Hinden—all of
whom have their own ideas about what
Dygard had to rewrite his the Moose’s role on the team should be.
stories repeatedly to get
them right. How do you
improve your writing?

16 Chapter 1
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Read with a Purpose Read this selection to discover what a young

football player learns when his dream finally comes true.

Play Audio
Just Once by Thomas J. Dygard

E
verybody liked the Moose. To his father when he wasn’t in a classroom or on the
and mother he was Bryan—as in Bryan football field, reading letters from colleges
Jefferson Crawford—but to everyone at eager to have the Moose pursue higher edu-
Bedford City High he was the Moose. He cation—and football—at their institution.
was large and strong, as you might imag- But the Moose had a hang-up.
ine from his nickname, and he was pretty He didn’t go public with his hang-up
fast on his feet—sort of nimble, you might until the sixth game of the season. But, look-
say—considering his size. He didn’t have ing back, most of his teammates agreed that
a pretty face but he had a quick and easy probably the Moose had been nurturing the
smile—“sweet,” some of the teachers called hang-up secretly for two years or more.
it; “nice,” others said. But on the football The Moose wanted to carry the ball. A
field, the Moose was neither sweet nor nice. For sure, the Moose was not the first
He was just strong and fast and a little bit interior lineman in the history of football,
devastating as the left tackle of the Bedford or even the history of Bedford City High,
City Bears. When the Moose blocked some- who banged heads up front and wore
body, he stayed blocked. When the Moose bruises like badges of honor—and dreamed
was called on to open a hole in the line of racing down the field with the ball to the
for one of the Bears’ runners, the hole end zone1 while everybody in the bleachers
more often than not resembled an open screamed his name.
garage door. But most linemen, it seems, are able
Now in his senior season, the Moose to stifle the urge. The idea may pop into
had twice been named to the all-conference
1. end zone: area between the goal line and the end
team and was considered a cinch for line (the line marking the boundary of the playing
all-state. He spent a lot of his spare time, area) at each end of a football field.

A Read and Discuss What has the narrator told you about the Vocabulary devastating (DEHV uh stay tihng) adj.:
Moose and what he wants? causing great damage.
nurturing (NUR chuhr ihng) v.: keeping alive.

Just Once 17
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their minds from time to time, but in their a little jig behind the Moose and then ran
hearts they know they can’t run fast enough, into the end zone, virtually untouched, to
they know they can’t do that fancy danc- win the game.
ing to elude tacklers, they know they aren’t After circling in the end zone a moment
trained to read blocks. They know that their while the cheers echoed through the night,
strengths and talents are best utilized in Jerry did run across and hug the Moose,
the line. Football is, after all, a team sport, that’s true. Jerry knew who had made the
and everyone plays the position where he touchdown possible.
most helps the team. And so these linemen, But it wasn’t the Moose’s name that
or most of them, go back to banging heads everybody was shouting. The fans in the
without saying the first word about the bleachers were cheering Jerry Dixon.
dream that flickered through their minds. It was probably at that precise moment
Not so with the Moose. B that the Moose decided to go public. C
That sixth game, when the Moose’s In the dressing room, Coach Buford
hang-up first came into public view, had Williams was making his rounds among the
ended with the Moose truly in all his glory cheering players and came to a halt in front
as the Bears’ left tackle. Yes, glory—but of the Moose. “It was your great blocking
uncheered and sort of anonymous. The that did it,” he said.
Bears were trailing 21–17 and had the ball “I want to carry the ball,” the Moose said.
on Mitchell High’s five-yard line, fourth Coach Williams was already turning
down,2 with time running out. The rule in away and taking a step toward the next
such a situation is simple—the best back player due an accolade4 when his brain
carries the ball behind the best blocker— registered the fact that the Moose had said
and it is a rule seldom violated by those something strange. He was expecting the
in control of their faculties.3 The Bears, of Moose to say, “Aw, gee, thanks, Coach.”
course, followed the rule. That meant Jerry That was what the Moose always said
Dixon running behind the Moose’s block- when the coach issued a compliment. But
ing. With the snap of the ball, the Moose the Moose had said something else. The
knocked down one lineman, bumped coach turned back to the Moose, a look of
another one aside, and charged forward to disbelief on his face. “What did you say?”
flatten an approaching linebacker. Jerry did “I want to carry the ball.”
Coach Williams was good at quick
2. fourth down: In football the team holding the ball recoveries, as any high school football coach
is allowed four downs, or attempts, to carry the ball
forward at least ten yards. 4. accolade (AK uh layd): something said or done to
3. faculties: mental powers. express praise.

B Read and Discuss How is the Moose’s dream of carrying the Vocabulary anonymous (uh NAHN uh muhs) adj.:
ball similar to and different from the thoughts of the other linemen? unknown; unidentified.
C Literary Focus Plot What is the main problem, or con-
flict, in this story?

18 Chapter 1
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Analyzing Visuals Connecting to the Text In what ways does this photograph represent the
complications in this story?

had better be. He gave a tolerant smile and “Remember,” he said, leaning forward and
a little nod and said, “You keep right on down a little to get his face in the coach’s
blocking, son.” D face, “I said I want to carry the ball.”
This time Coach Williams made good on Coach Williams must have been think-
his turn and moved away from the Moose. ing about something else because it took
The following week’s practice and the him a minute to look up into the Moose’s
next Friday’s game passed without further face, and even then he didn’t say anything.
incident. After all, the game was a road “I meant it,” the Moose said.
game over at Cartwright High, thirty-five “Meant what?”
miles away. The Moose wanted to carry the “I want to run the ball.”
ball in front of the Bedford City fans. “Oh,” Coach Williams said. Yes, he
Then the Moose went to work. remembered. “Son, you’re a great left tackle,
He caught up with the coach on the a great blocker. Let’s leave it that way.” E
way to the practice field on Wednesday. The Moose let the remaining days of the

D Read and Discuss What does the coach think of the Moose’s E Reading Focus Retelling What conflict is happening
request? How can you tell? between the Moose and his coach? Retell this part of the story in
your own words.
Vocabulary tolerant (TAHL uhr uhnt) adj.: patient;
accepting of others.

Just Once 19
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practice week and then the game on Friday good idea that the Moose carry the ball.
night against Edgewood High pass while he Others, like Dan Blevins, held to the purist6
reviewed strategies. The review led him to line—a left tackle plays left tackle, a ball car-
Dan Blevins, the Bears’ quarterback. If the rier carries the ball, and that’s it.
signal caller would join in, maybe Coach Around town, the vote wasn’t even
Williams would listen. close. Everyone wanted the Moose to
“Yeah, I heard,” Dan said. “But, look, carry the ball. F
what about Joe Wright at guard, Bill Slocum “Look, son,” Coach Williams said to the
at right tackle, even Herbie Watson at center. Moose on the practice field the Thursday
They might all want to carry the ball. What before the Benton Heights game, “this has
are we going to do—take turns? It doesn’t gone far enough. Fun is fun. A joke is a joke.
work that way.” But let’s drop it.”
So much for Dan “Just once,” the Moose
Blevins. pleaded.
The Moose found that Coach Williams looked
most of the players in the The players at the Moose and didn’t
backfield agreed with Dan. by now were openly answer.
They couldn’t see any rea- The Moose didn’t know
son why the Moose should
taking sides. Some what that meant.
carry the ball, especially in thought it a jolly good The Benton Heights
place of themselves. Even idea that the Moose Tigers were duck soup for
Jerry Dixon, who owed the Bears, as everyone knew
a lot of his glory to the carry the ball. they would be. The Bears
Moose’s blocking, gaped scored in their first three
in disbelief at the Moose’s possessions and led 28–0 at
idea. The Moose, however, got some support the half. The hapless7 Tigers had yet to cross
from his fellow linemen. Maybe they had the fifty-yard line under their own steam.
dreams of their own, and saw value in a All the Bears, of course, were enjoying
precedent. 5 the way the game was going, as were the
As the days went by, the word spread— Bedford City fans jamming the bleachers.
not just on the practice field and in the Coach Williams looked irritated when
corridors of Bedford City High, but all the crowd on a couple of occasions broke
around town. The players by now were into a chant: “Give the Moose the ball! Give
openly taking sides. Some thought it a jolly the Moose the ball!” G
6. purist (PYUR ihst): someone who insists that rules
5. precedent (PREHS uh duhnt): action or statement be followed strictly.
that can serve as an example. 7. hapless: unlucky.

F Read and Discuss Why might the townspeople care about G Reading Focus Retelling What’s happening on the
the Moose’s dream of carrying the ball? field and in the bleachers? Retell this section.

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On the field, the Moose did not know then running onto the field. The Moose
whether to grin at hearing his name shouted turned to leave.
by the crowd or to frown because the sound Then he heard Larry tell the referee,
of his name was irritating the coach. Was “Hinden for Holbrook.”
the crowd going to talk Coach Williams Holbrook? Chad Holbrook, the fullback?
into putting the Moose in the backfield? Chad gave the coach a funny look and
Probably not; Coach Williams didn’t bow to jogged off the field.
that kind of pressure. Was the coach going Larry joined the huddle and said,
to refuse to give the ball to the Moose just “Coach says the Moose at fullback and
to show the crowd—and the Moose and give him the ball.” I
the rest of the players—who was boss? The Dan Blevins said, “Really?”
Moose feared so. H “Really.”
In his time on the sideline, when the The Moose was giving his grin—
defensive unit was on the field, the Moose, “sweet,” some of the teachers called it;
of course, said nothing to Coach Williams. “nice,” others said.
He knew better than to break the coach’s “I want to do an end run,” the
concentration during a game—even a run- Moose said. J
away victory—with a comment on any Dan looked at the sky a moment, then
subject at all, much less his desire to carry said, “What does it matter?”
the ball. As a matter of fact, the Moose The quarterback took the snap from cen-
was careful to stay out of the coach’s line ter, moved back and to his right while turning,
of vision, especially when the crowd was and extended the ball to the Moose.
chanting “Give the Moose the ball!” The Moose took the ball and cradled it
By the end of the third quarter the Bears in his right hand. So far, so good. He hadn’t
were leading 42–0. fumbled. Probably both Coach Williams and
Coach Williams had been feeding sub- Dan were surprised.
stitutes into the game since halftime, but the He ran a couple of steps and looked out in
Bears kept marching on. And now, in the front and said aloud, “Whoa!”
opening minutes of the fourth quarter, the Where had all those tacklers come from?
Moose and his teammates were standing on The whole world seemed to be peopled
the Tigers’ five-yard line, about to pile on with players in red jerseys—the red of the
another touchdown. Benton Heights Tigers. They all were looking
The Moose saw his substitute, Larry straight at the Moose and advancing toward
Hinden, getting a slap on the behind and him. They looked very determined, and not

H Read and Discuss What’s going on at the game? What does J Literary Focus Plot How is the Moose complicating
the Moose think about the crowd’s actions? the situation here?
I Literary Focus Setting How has the setting influenced
the coach’s decision to let the Moose carry the ball?

Just Once 21
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friendly at all. And there were so many of something pounded his hip, then his shoulder.
them. The Moose had faced tough guys in the They both hurt. Somebody was hanging on
line, but usually one at a time, or maybe two. to him and was a terrible drag. How could he
But this—five or six. And all of them heading run with somebody hanging on to him? He
for him. K knew he was going down, but maybe he was
The Moose screeched to a halt, whirled, across the goal. He hit the ground hard, with
and ran the other way. somebody coming down on top of him, right
Dan Blevins blocked somebody in a red on the small of his back.
jersey breaking through the middle of the line, The Moose couldn’t move. They had him
and the Moose wanted to stop running and pinned. Wasn’t the referee supposed to get
thank him. But he kept going. these guys off?
His reverse had caught the Tigers’ defend- Finally the load was gone and the Moose,
ers going the wrong way, and the field in front still holding the ball, got to his knees and one
of the Moose looked open. But his blockers hand, then stood.
were going the wrong way, too. Maybe that was He heard the screaming of the crowd, and
why the field looked so open. What did it mat- he saw the scoreboard blinking.
ter, though, with the field clear in front of him? He had scored.
This was going to be a cakewalk;8 the Moose His teammates were slapping him on the
was going to score a touchdown. shoulder pads and laughing and shouting.
Then, again—“Whoa!” The Moose grinned, but he had a strange
Players with red jerseys were beginning to and distant look in his eyes.
fill the empty space—a lot of them. And they He jogged to the sideline, the roars of the
were all running toward the Moose. They were crowd still ringing in his ears.
kind of low, with their arms spread, as if they “OK, son?” Coach Williams asked.
wanted to hit him hard and then grab him. L The Moose was puffing. He took a couple
A picture of Jerry Dixon dancing his of deep breaths. He relived for a moment the
little jig and wriggling between tacklers first sight of a half dozen players in red jerseys,
flashed through the Moose’s mind. How did all with one target—him. He saw again the
Jerry do that? Well, no time to ponder that menacing horde of red jerseys that had risen
one right now. up just when he’d thought he had clear sail-
The Moose lowered his shoulder and ing to the goal. They all zeroed in on him, the
thundered ahead, into the cloud of red jerseys. Moose, alone.
Something hit his left thigh. It hurt. Then The Moose glanced at the coach,
took another deep breath, and said,
8. cakewalk: easy job. “Never again.” M

K Read and Discuss Do you think the Moose will succeed? M Read and Discuss The Moose finally realized his dream. Why
Why or why not? does he tell the coach, “Never again”?
L Literary Focus Plot What new complications may Vocabulary ponder (PAHN duhr) v.: think over carefully.
prevent the Moose from reaching his goal?

22 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

Just Once
Literary Response and Analysis
Reading Skills Focus Literary Skills: Plot and Setting
Quick Check 8. Analyze This story takes place over the
1. How does the Moose let his coach know what course of several games and practice days.
he wants? How does the setting influence the Moose’s
approach to his problem? How does the
2. How do others feel about the Moose’s wish to
setting influence the story’s climax and
carry the ball?
resolution?
3. What happens when the Moose finally gets
9. Analyze Could this story take place in
his chance?
another setting? Explain why or why not.
Read with a Purpose
Literary Skills Review: Theme
4. What does the Moose learn after he achieves
10. Evaluate The theme is the major message
his dream? How does reality turn out to be
a story reveals about life. What is this story’s
different from his dream?
theme, or underlying message? Is it the same
Reading Skills: Retelling lesson that the Moose learns? Explain.
5. Review the chart you filled in, and add a col-
umn showing how each conflict is resolved.
Writing Skills Focus
Who or what Describe How is the
is in con- what’s hap- conflict Think as a Reader/Writer
flict? pening resolved? Use It in Your Writing Review your notes
about the Moose. Then, develop a character who
The Moose has The Moose The coach
a conflict, or wants to carry finally gives faces a problem, and place him or her in a specific
problem with the ball, but his in, but running setting. You might want to involve your character
his coach. coach won’t let the ball isn’t in a struggle against nature.
him because like the Moose
Moose is a line- thought it
man. would be. How do you think the Moose
would feel about the expression
Literary Skills Focus “Be careful what you wish for—
Literary Analysis you may get it”?
6. Connect Is this a story only athletic people—
especially boys—can appreciate, or does it
have something to say to everyone? Explain.
7. Infer Describe the conflict the Moose faces
when the crowd chants, “Give the Moose the
ball!” What does he want to achieve? What
prevents him from getting what he wants?

Applying Your Skills 23

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Reading Standard 1.4 Monitor exposi-
tory text for unknown words or words
with novel meanings by using word, sentence,
and paragraph clues to determine meaning.
Just Once

Vocabulary Development
Context Clues
If you walked into class and an unfamiliar per- Suffixes A suffix is a letter or group of let-
son was at your teacher’s desk, what would you ters added to the end of a word to create
assume? You’d probably assume that he or she a different meaning. Adding different
was a substitute teacher. Even without knowing suffixes to the same root word can alter
this person’s name, you’d be able to infer, or make that word’s part of speech. For example,
a guess about, who he or she was. You can do the adding different suffixes to the word
same thing with words. You can look at the words pray results in different parts of speech:
and sentences around them—their context—and prayer, praying, prayerful. Try adding suf-
make an accurate guess about what they mean. fixes to these words so that they may be
used as different parts of speech.

Your Turn devastating 1. obey 3. try

nurturing 2. pay 4. fry
In the following paragraph, each
Vocabulary word appears in ital- anonymous
Use a dictionary to help you if necessary.
ics and has at least one context tolerant
clue that will help you determine ponder
its meaning. Copy the paragraph,
and circle the clues that help you Academic Vocabulary
understand each word’s meaning.
The coach read aloud the anonymous note, Write About . . .
wondering who had written it: “Please take Write a short paragraph explaining
some time to ponder our request carefully. what the Moose did to achieve his goal.
You may think that it would have a dev- Provide examples of how the Moose
astating effect, but we’re sure it won’t ruin chose to interact with Coach Williams.
the sports program. It’s time to be tolerant Was the Moose’s approach effective, or
and fair. After all, we’ve been nurturing our should he have made a major change
dreams for months. Please let girls try out to the way he tried to persuade his
for the team.” coach? Use the underlined Academic
Vocabulary words in your paragraph.

Learn It Online
For more on context clues, visit WordSharp at:
[Link] H6-24 Go

24 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

Grammar Link CHOICES

Common and Proper Nouns As you respond to the Choices, use these Academic Vocabulary
What part of speech is the word once in the title words as appropriate: achieve, influence, interact, major.
“Just Once”? It’s a noun—a word used to name a REVIEW
person, place, thing, or idea. Write a Summary
TechFocus Create a sportscast of the Bears-
Te
Persons Moose, Jerry Dixon, Coach Buford versus-Tigers game. First, write a summary
Williams, Dan Blevins of what happened. Use details in the story to
Places Mitchell High School, practice answer who, what, when, where, why, and how
field, dressing room questions. Be sure to empahsize the setting’s
Things football, red jerseys influence on the game’s action and outcome.
Ideas hang-up, badge of honor, talents Then, practice reading your report for a broad-
cast. Tape the reading, and play it for your class.
A common noun is a general name for a person,
place, thing, or idea, while a proper noun names a CONNECT
particular one. A proper noun begins with a capi- Write About a Conflict
tal letter, while a common noun is not capitalized. Write about a time when
you faced a conflict between doing what you
Common Noun Proper Noun wanted and doing what was best for a group or
school Mitchell High School team, such as your family, friends, or an organi-
coach Buford Williams zation. Include important details, and end with
teammate Dan Blevins an explanation of what you learned.

EXTEND
Your Turn Draw a Life Map
In the sentences that follow, underline the com- People want different things at different times
mon nouns, and circle the proper nouns. in their lives. Draw a “life map” as a kind of road
1. Moose is a high school athlete. or journey, showing a person at one end and
2. He plays left tackle for the Bears’ football team the person’s goal at the other end. Draw some
but dreams of carrying the ball. of the forces that person might have to over-
3. The boy is rebuffed when he tells Coach come along the way. Then, write a paragraph
Williams of his dream. explaining your map. (It does not have to be a
map of the life you want.)
4. His fellow teammate Dan Blevins disagrees
with Moose.
5. Despite everything, Moose finally gets his Learn It Online
chance in a game against the Benton Heights Learn more about this story with the Internet links
Tigers. available at:
[Link] H6-25 Go

Applying Your Skills 25

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SHORT STORY

All Summer
in a Day
by Ray Bradbury

What truths about

ourselves can we learn
in extreme, dangerous,
or unusual situations?

QuickWrite
What kinds of environments or situations lift your
spirits? What kinds of environments or situations bring
out the worst in you? Write an explanation of how
you think the settings we find ourselves in affect our
moods, thoughts, and actions.

26 Chapter 1
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Reading Standard 3.3 Analyze the
Reader/Writer influence of setting on the problem and its
Notebook resolution.
Use your RWN to complete the
activities for this selection.

Literary Skills Focus

Setting The plot is the series of events that make up a story, and the Vocabulary
setting is the time and place in which the story occurs. In some stories frail (frayl) adj.: not very strong; easily
the setting plays a major role in what the characters do and how the broken. The girl was small and frail.
action unfolds. As you read this science fiction story, think about the vital (VY tuhl) adj.: necessary for life;
importance of setting. How does the setting shape the action and the very important. It was vital that
problems the characters face? If you changed any of the details of the everyone see the sun.
setting, how would the story be affected? consequence (KAHN suh kwehns) n.:
of value; importance. Their teacher
Reading Skills Focus realized that the day was of great
consequence.
Sequencing The sequence is the order of events in a story. Placing
the story events in the correct sequence is important for understanding surged (surjd) v.: moved forward,
how a story develops and what happens at key moments in the plot. as if in a wave. The children surged
toward the door, eager to escape.
Into Action To keep track of the order of the main events in this
savored (SAY vuhrd) v.: delighted in.
story, use a sequence chart like the one below. Number each event, and The children savored the chance to
describe it briefly. Add as many rows to the chart as you need. play outside.
Sequence Chart: “All Summer in a Day”
1. The children are waiting for the rain to stop.
2.
Dialogue The words that char-
acters in a story speak are called
dialogue. Bradbury brings this story
TechFocus Research the atmosphere of a planet in our solar system
Te to life with carefully crafted dialogue
other than Earth or Venus. What equipment and protection would be that moves events forward and
necessary for people to be able to live there? reveals the feelings and motivations
of the characters. There are no long
Writing Skills Focus conversations, but the dialogue is full
of emotion. In your Reader/Writer
Think as a Reader/Writer Notebook, write down examples of
Find It in Your Reading Pay attention to the unusual words and
dialogue that powerfully reveals the
phrases Bradbury uses to describe the setting, such as “concussion of
feelings of the characters.
storms.” List these descriptive images in your Reader/Writer Notebook.

Learn It Online
For a preview of this story, see the video
introduction at:
[Link] H6-27 Go

Preparing to Read 27
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MEET THE WRITER Build Background

“All Summer in a Day” takes place on the

Ray Bradbury planet Venus in a future world where

“rocket men and women,” as Bradbury
(1920– ) calls them, have come to live and set up
a colony. Bradbury’s description of Venus
Space-Age Storyteller and its weather patterns is entirely fic-
Ray Bradbury has been called the world’s greatest science fic- tional. As the second planet from the sun
tion writer. He once described himself more simply: “I am a in our solar system, Venus is actually very
storyteller. That’s all I’ve ever tried to be.” Although Bradbury’s hot and dry—and has no liquid water.
stories are often set in outer space, his characters and their
Bradbury wrote this story in 1959, during
emotions are human and down-to-earth. Through this connec-
a period (roughly 1957–1975) when the
tion of the imagined and the real, Bradbury’s fiction challenges
space race between the United States
the reader to question where we might be headed and what
and the Soviet Union was in full swing.
we might learn about ourselves.
The two countries were in competition
Imagine the Future to see who would reach the moon first
In his fiction, Bradbury encourages his readers to try to imag- and who would go the farthest to make
ine the wonders the future will hold: space travel a reality. Nine years after
this story was written, the United States
made the first moon landing, and many
“ Everything confronting us in the next thirty people thought it would not be long
years will be science-fictional, that is, impos- before spaceships made it to Mars and
other planets.
sible a few years ago. The things you are doing
right now, if you had told anyone you’d be Preview the Selection
doing them when you were children, they On the planet Venus—as imagined
by Bradbury—the sun appears for only
would have laughed you out of school. . . . ”
two hours every seven years. A class of
What can imaginative nine-year-olds, especially one student
named Margot, eagerly awaits a brief
tales like science fiction glimpse of the sun.
stories teach us about our-
selves and our lives?

28
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Read with a Purpose Read this story to discover how a group of children
on Venus react to a long-awaited event.

All Summer in a Day by Ray Bradbury

“Ready.” was the schoolroom of the children of the

“Ready.” rocket men and women who had come to a
“Now?” Play Audio raining world to set up civilization and live
“Soon.” out their lives. A
“Do the scientists really know? Will it “It’s stopping, it’s stopping!”
happen today, will it?” “Yes, yes!”
“Look, look; see for yourself!” Margot stood apart from them, from
The children pressed to each other like these children who could never remember
so many roses, so many weeds, intermixed, a time when there wasn’t rain and rain and
peering out for a look at the hidden sun. rain. They were all nine years old, and if
It rained. there had been a day, seven years ago, when
It had been raining for seven years; the sun came out for an hour and showed
thousands upon thousands of days com- its face to the stunned world, they could not
pounded and filled from one end to the recall. Sometimes, at night, she heard them
other with rain, with the drum and gush of stir, in remembrance, and she knew they
water, with the sweet crystal fall of showers were dreaming and remembering gold or a
and the concussion1 of storms so heavy they yellow crayon or a coin large enough to buy
were tidal waves come over the islands. A the world with. She knew they thought they
thousand forests had been crushed under remembered a warmness, like a blushing in
the rain and grown up a thousand times to the face, in the body, in the arms and legs
be crushed again. And this was the way life and trembling hands. But then they always
was forever on the planet Venus, and this awoke to the tatting drum, the endless shak-
ing down of clear bead necklaces upon the
1. concussion (kuhn KUHSH uhn): violent shaking or roof, the walk, the gardens, the forests, and
shock. their dreams were gone. B

A Literary Focus Setting What is the major influence of B Literary Focus Setting What change in the setting
this setting so far? Which details suggest this? does Margot think the other children might be remembering?

All Summer in a Day 29

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All day yesterday they had read in class she let herself be moved only by him
about the sun. About how like a lemon it and nothing else.
was, and how hot. And they had written They edged away from her; they would
small stories or essays or poems about it. not look at her. She felt them go away. And
I think the sun is a flower this was because she would play no games
That blooms for just one hour. with them in the echoing tunnels of the
That was Margot’s poem, read in a quiet underground city. If they tagged her and
voice in the still classroom while the rain ran, she stood blinking after them and did
was falling outside. not follow. When the class sang songs about
“Aw, you didn’t write that!” protested happiness and life and games, her lips barely
one of the boys. moved. Only when they sang about the sun
“I did,” said Margot. “I did.” and the summer did her lips move as she
“William!” said the teacher. watched the drenched windows. C
But that was yesterday. Now the rain was And then, of course, the biggest crime
slackening,2 and the children were crushed of all was that she had come here only five
in the great thick windows. years ago from Earth, and she remembered
“Where’s teacher?” the sun and the way the sun was and the sky
“She’ll be back.” was when she was four in Ohio. And they,
“She’d better hurry; we’ll miss it!” they had been on Venus all their lives, and
They turned on themselves like a fever- they had been only two years old when last
ish wheel, all tumbling spokes. the sun came out and had long since forgot-
Margot stood alone. She was a very frail ten the color and heat of it and the way it
girl who looked as if she had been lost in really was. But Margot remembered.
the rain for years and the rain had washed “It’s like a penny,” she said once,
out the blue from her eyes and the red from eyes closed.
her mouth and the yellow from her hair. “No, it’s not!” the children cried.
She was an old photograph dusted from “It’s like a fire,” she said, “in the stove.”
an album, whitened away, and if she spoke “You’re lying; you don’t remember!”
at all her voice would be a ghost. Now she cried the children.
stood, separate, staring at the rain and the But she remembered and stood quietly
loud wet world beyond the huge glass. apart from all of them and watched the pat-
“What’re you looking at?” said William. terning windows. And once, a month ago,
Margot said nothing. she had refused to shower in the school
“Speak when you’re spoken to.” He gave shower rooms, had clutched her hands to
her a shove. But she did not move; rather her ears and over her head, screaming the
water mustn’t touch her head. So after
2. slackening (SLAK uh nihng): lessening; slowing. that, dimly, dimly, she sensed it, she was

C Read and Discuss What does this scene suggest about how Vocabulary frail (frayl) adj.: not very strong; easily
the other children view Margot? broken.

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different, and they knew her difference and

kept away. D
There was talk that her father and
mother were taking her back to Earth next
year; it seemed vital to her that they do so,
though it would mean the loss of thousands
of dollars to her family. And so, the children
hated her for all these reasons of big and lit-
tle consequence. They hated her pale snow
face, her waiting silence, her thinness, and
her possible future. E
“Get away!” The boy gave her another
push. “What’re you waiting for?”
Then, for the first time, she turned and
looked at him. And what she was waiting
for was in her eyes.
“Well, don’t wait around here!” cried the
boy savagely. “You won’t see nothing!”
Her lips moved.
“Nothing!” he cried. “It was all a joke,
wasn’t it?” He turned to the other children.
“Nothing’s happening today. Is it?”
They all blinked at him and then, under-
standing, laughed and shook their heads.
“Nothing, nothing!”
“Oh, but,” Margot whispered, her eyes
helpless. “But this is the day, the scientists
predict, they say, they know, the sun . . .”
“All a joke!” said the boy, and seized her
roughly. “Hey everyone, let’s put her in a
closet before teacher comes!”

D Literary Focus Setting What kind of setting does

Margot remember? How is it different from the story’s setting?
E Read and Discuss What is the author explaining here?
Vocabulary vital (VY tuhl) adj.: necessary for life; very
important.
consequence (KAHN suh kwehns) n.: of value; importance.

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SCIENCE LINK

Life on Venus? We don’t know whether there’s life on Venus. We can be

pretty sure, though, that Ray Bradbury’s science fiction
vision of a rain-drenched Venus is more fiction than science.
Venus is the second planet from the Sun. Mercury is
closer to the Sun, but Venus is hotter than Mercury
because its atmosphere is full of thick clouds of sulfuric
acid strong enough to etch metal and burn through flesh.
These clouds trap the sun’s rays and increase the
temperature to more than 800°F.
It’s too hot to rain on Venus, but scientists think its
thick clouds might contain areas of lower temperatures
where microscopic forms of life could exist. It’s possible
that small microbes are responsible for the types of gases
in Venus’s clouds. Could there be some form of life on Venus?
Researchers will keep looking.

Ask Yourself
If life were found on Venus, how might people react?

“No,” said Margot, falling back. The rain slackened still more.
They surged about her, caught her up They crowded to the huge door.
and bore her, protesting, and then pleading, The rain stopped.
and then crying, back into a tunnel, a room, It was as if, in the midst of a film concern-
a closet, where they slammed and locked ing an avalanche, a tornado, a hurricane, a
the door. They stood looking at the door and volcanic eruption, something had, first, gone
saw it tremble from her beating and throw- wrong with the sound apparatus, thus muf-
ing herself against it. They heard her muffled fling and finally cutting off all noise, all of
cries. Then, smiling, they turned and went out the blasts and repercussions and thunders,
and back down the tunnel, just as the teacher and then, second, ripped the film from the
arrived. F projector and inserted in its place a peaceful
“Ready, children?” She glanced at tropical slide which did not move or tremor.
her watch. The world ground to a standstill. The silence
“Yes!” said everyone. was so immense and unbelievable that you
“Are we all here?” felt your ears had been stuffed or you had lost
“Yes!” G your hearing altogether. The children put their

F Read and Discuss How do the children seem to feel about G Reading Focus Sequencing Who is present at this
what they’ve done to Margot? point? Where is Margot now?
Vocabulary surged (surjd) v.: moved forward, as if in a wave.

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Radiance by Simon Cook.

hands to their ears. They stood apart. The
door slid back and the smell of the silent, wait-
ing world came in to them.
The sun came out.
It was the color of flaming bronze and
it was very large. And the sky around it was
a blazing blue tile color. And the jungle
burned with sunlight as the children, released
from their spell, rushed out, yelling, into the
springtime.
“Now, don’t go too far,” called the teacher
after them. “You’ve only two hours, you know.
You wouldn’t want to get caught out!”
But they were running and turning their
faces up to the sky and feeling the sun on
their cheeks like a warm iron; they were taking
off their jackets and letting the sun burn
their arms.
“Oh, it’s better than the sun lamps, isn’t it?”
“Much, much better!”
They stopped running and stood in the
great jungle that covered Venus, that grew and
never stopped growing, tumultuously,3 even
as you watched it. It was a nest of octopuses,
clustering up great arms of fleshlike weed,
wavering, flowering in this brief spring. It was
the color of rubber and ash, this jungle, from
the many years without sun. It was the color of
stones and white cheeses and ink, and it was
the color of the moon.
The children lay out, laughing, on the
jungle mattress and heard it sigh and squeak
under them, resilient4 and alive. They ran
among the trees, they slipped and fell, they
pushed each other, they played hide-and-seek
and tag, but most of all they squinted at the
Analyzing Visuals Connecting to the Text
3. tumultuously (too MUHL choo uhs lee): wildly;
How does this image of the sun capture the change in the
violently.
story’s setting that occurs when the sun comes out?
4. resilient (rih ZIHL yuhnt): springy, quick to recover.

All Summer in a Day 33

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sun until tears ran down their faces; they put They stood in the doorway of the under-
their hands up to that yellowness and that ground for a moment until it was raining
amazing blueness and they breathed of the hard. Then they closed the door and heard the
fresh, fresh air and listened and listened to the gigantic sound of the rain falling in tons and
silence which suspended them in a blessed avalanches, everywhere and forever.
sea of no sound and no motion. They looked “Will it be seven more years?”
at everything and savored everything. Then, “Yes. Seven.”
wildly, like animals escaped from their caves, Then one of them gave a little cry.
they ran and ran in shouting circles. They ran “Margot!”
for an hour and did not stop running. H “What?”
And then— “She’s still in the closet where we
In the midst of their running, one of the locked her.”
girls wailed. “Margot.”
Everyone stopped. They stood as if someone had driven
The girl, standing in the open, held out her them, like so many stakes, into the floor.
hand. They looked at each other and then looked
“Oh, look, look,” she said, trembling. away. They glanced out at the world that
They came slowly to look at her was raining now and raining and raining
opened palm. steadily. They could not meet each other’s
In the center of it, cupped and huge, was a glances. Their faces were solemn and pale.
single raindrop. They looked at their hands and feet, their
She began to cry, looking at it. faces down.
They glanced quietly at the sky. “Margot.”
“Oh. Oh.” One of the girls said, “Well . . . ?”
A few cold drops fell on their noses and No one moved.
their cheeks and their mouths. The sun faded “Go on,” whispered the girl.
behind a stir of mist. A wind blew cool around They walked slowly down the hall in the
them. They turned and started to walk back sound of cold rain. They turned through the
toward the underground house, their hands at doorway to the room in the sound of the
their sides, their smiles vanishing away. I storm and thunder, lightning on their faces,
A boom of thunder startled them, and like blue and terrible. They walked over to the
leaves before a new hurricane, they tumbled closet door slowly and stood by it.
upon each other and ran. Lightning struck ten Behind the closet door was only silence.
miles away, five miles away, a mile, a half-mile. They unlocked the door, even more
The sky darkened into midnight in a flash. slowly, and let Margot out. J

H Read and Discuss Why might Bradbury compare the J Read and Discuss What does this say about
children to animals? Margot’s classmates?
I Reading Focus Sequencing How much time has Vocabulary savored (SAY vuhrd) v.: delighted in.
passed since the children went outside? How do you know?

34 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

All Summer in a Day

Literary Response and Analysis
Reading Skills Focus 7. Analyze Why would the children lock Margot
in the closet when they know how much the
Quick Check
sun means to her? How might this experience
1. Why are the children so excited at the begin-
affect both Margot and the children who mis-
ning of the story?
treated her?
2. What does Margot remember that the other
children do not? Literary Skills: Setting
3. What happens while Margot is in the closet? 8. Interpret/Evaluate What do you think the
title of Bradbury’s story means? What is the
Read with a Purpose influence of the setting on this title?
4. How do the children in this story react to the 9. Analyze How does the setting of this story
long-awaited event? Does their behavior sur- influence the plot, including the conflict
prise you? Explain. and resolution? Would there be a story if
Bradbury’s Venus had less extreme weather?
Reading Skills: Sequencing Explain.
5. Review your chart for “All Summer in a Day.”
Now, create a chart like the one below that Literary Skills Review: Character
focuses on the sequence of events from 10. Infer/Evaluate From what you know of her
Margot’s perspective. Compare and contrast character, how do you think Margot will react
the two charts. Mark with a star the event that when she is let out of the closet? Should
causes the two sequences to begin to differ. Bradbury have described what happens next,
How does this event change the “summer or do you like the story as it is? Explain.
day” for Margot? for the other children?

Sequence Chart: Margot’s Day

Writing Skills Focus
1. Margot is in the classroom with the other
children, waiting for the rain to stop.
Think as a Reader/Writer
Use It in Your Writing Use precise language to
2. write a description of a memorable experience in
which you faced extreme weather.

Literary Skills Focus

Literary Analysis
If you were living on Bradbury’s
6. Interpret Differences between people often
cause conflicts, or clashes. What causes the
Venus, how might the setting
conflict between Margot and the other chil- influence you? What truths about
dren? Why does she keep to herself? yourself might you learn?

Applying Your Skills 35

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Reading Standard 1.4 Monitor exposi-
tory text for unknown words or words
with novel meanings by using word, sentence,
and paragraph clues to determine meaning.
All Summer in a Day

Vocabulary Development
Context Clues Dialogue Bradbury does not always
identify who is speaking in his dialogue.
When you’re reading, you can often determine You know a different person is speaking
the meaning of an unknown word by look- when dialogue begins on a new line:
ing at its context—the words and sentences
“Now?”
surrounding the unfamiliar word. Sometimes
context clues appear in the same sentence “Soon.”
as the unfamiliar word. Other times the clues When Bradbury wants to be sure we
appear before or even after the sentence con- know who is speaking, he includes a
taining the unfamiliar word. Look at how the speaker tag—the name or description
underlined context clues help you understand of the speaker:
the meaning of muffling in the following sen- “Aw, you didn’t write that!”
tence from the story: protested one of the boys.
“It was as if, in the midst of a film concerning “I did,” said Margot. “I did.”
an avalanche, a tornado, a hurricane, a volca- Think about the dialogue above that
nic eruption, something had, first, gone wrong lacks speaker tags. Who might be speak-
with the sound apparatus, thus muffling and ing? Re-reading the beginning of the
finally cutting off all noise. . . .” story may help you decide.
The clues help you guess that the author
uses muffling to indicate that the noise was
decreasing. In fact, the word means “making Academic Vocabulary
less intense.”
Talk About . . .
Your Turn With a partner, discuss the major event
Find the place in the story where each in “All Summer in a Day.” Did the event
Vocabulary word is used: frail, vital, conse- likely create more conflict between
quence, surged, and savored. For each word, Margot and the children, or do you
write down any context clues you find in the think they will interact with her in more
story. Remember to look for clues in sentences positive ways in the future? Use the
coming before and after the sentences in underlined Academic Vocabulary words
which the words are used. Are there any words in your discussion.
for which you can’t find context clues?

Learn It Online
Sharpen your word skills with WordSharp at:
[Link] H6-36 Go

36 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

Grammar Link CHOICES

Pronouns: Make It Specific As you respond to the Choices, use these Academic Vocabulary
Have you ever listened to someone repeat the words as appropriate: achieve, influence, interact, major.
same thing over and over instead of getting to REVIEW
some new point? If so, you were probably bored Diagram a Plot
and found it difficult to keep listening. You’re lucky Partner Work Fill out a diagram like this one,
that English is full of pronouns—words that are showing the plot of “All Summer in a Day”:
used in place of nouns and, sometimes, other
pronouns. Without pronouns, people would have Climax
to repeat themselves every time they spoke. For Event
example, look at the following repetitive sentence: Event
The girl said that the girl’s parents were Event Resolution
taking the girl back to Earth next year.
Pronouns shorten this sentence, making it much
Setting and basic situation (main
easier to read (and listen to):
character and his or her problem)
The girl said her parents were taking her
back to Earth next year. CONNECT
Write a Movie Proposal
TechFocus Create a movie proposal about
Te
Your Turn people living in a colony on the real Venus. Use
Rewrite each of the following sentences by replac- Internet resources to learn what conditions on
ing any repeated nouns with pronouns. Venus are like. Describe the set designs and spe-
1. Margot had come to Venus when Margot was cial effects that you would need for the movie.
four years old. What will be the story’s major conflict?
2. The sun was a stranger to the children
EXTEND
because the sun was always hidden by rain
clouds. Write a Persuasive Letter
Imagine that you’re one of
3. The children grabbed Margot, and the chil-
Margot’s classmates and it’s the day after the
dren pushed Margo into the closet.
sun came out. Write a persuasive letter urg-
4. The teacher told the teacher’s students that ing your classmates to change their attitudes
the teacher did not want the teacher’s stu- toward Margot. End by suggesting what all of
dents to go far. you should do to make up for your actions.
5. The boys and girls were sorry about what the
boys and girls had done to Margot.
Learn It Online
Research background information on this story using
the Internet links available at:
[Link] H6-37 Go

Applying Your Skills 37

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SHORT STORY

The
Bracelet
by Yoshiko Uchida

To School (1945) by Hisako Hibi.

Gift of Ibuki Hibi Lee, Japanese
American National Museum
(96.601.50).

What truths can we learn QuickTalk

about ourselves when we What story can you think of in which painful historical
can’t control the things events are used to teach us never to repeat mistakes?
that change in our lives? With a partner, discuss at least two examples.

38 Chapter 1
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Reading Standard 3.3 Analyze the
Reader/Writer influence of setting on the problem and its
Notebook resolution.
Use your RWN to complete the
activities for this selection.

Literary Skills Focus

Setting and Conflict Stories occur in a particular time and place— Vocabulary
the story’s setting. In some stories the setting is part of, or even the evacuated (ih VAK yoo ayt uhd) v.:
cause of, the main character’s conflict, or problem. As you read, note removed from an area. In 1942,
how this story starts out in one setting and moves to another, quite dif- Japanese Americans were evacuated
ferent setting. Think about the influence these settings have on the con- from the West Coast.
flict and its resolution. interned (ihn TURND) v.: imprisoned
or confined. Ruri’s father was
Literary Perspectives Use the literary perspective described on interned in a prisoner-of-war camp.
page 41 as you read this story.
thrust (thruhst) v.: shoved; pushed.
Laurie thrust the bracelet into Ruri’s
Reading Skills Focus hand.
Summarizing When you summarize a story, you briefly retell the forsaken (fawr SAY kuhn) adj.:
main ideas and important events in your own words. abandoned. The garden looked as
Into Action As you read “The Bracelet,” use a chart like this one to list forsaken as Ruri felt when she had to
leave home.
the main ideas and events that a summary would include.
Her family was Her father was
“The Bracelet” evacuated. interned.
Setting: Ruri
Main Characters: Laurie thrust the She felt
Conflict: gift at her. forsaken.

Sequence of Main Events:

1.
2. Words Borrowed from Other
Resolution (Ending):
(Ending): Languages
When people speaking different
languages interact, they often bor-
Writing Skills Focus row one another’s words. American
Think as a Reader/Writer English has been borrowing words
Find It in Your Reading In each of the story’s settings the author from other languages for centuries.
uses contrast to show how the place has changed or is different than Can you think of any words that have
imagined. Create a “T” chart in your Reader/Writer Notebook. On one been borrowed from the Japanese
side, record how each setting once was or how Ruri imagined it would language?
be. On the other side, note how each place has changed or how it
looks in reality. Learn It Online
Use our online graphic organizers to help you
as you read:
[Link] H6-39 Go

Preparing to Read 39
 Back to main Table of contents
Learn It Online
Get the scoop on the author’s life:
MEET THE WRITER
[Link] H6-40 Go
Build Background
Shortly after the United States entered

Yoshiko Uchida World War II to fight against Japan after

the attack on Pearl Harbor, more than
(1921–1992) 110,000 people of Japanese ancestry
who were living in the United States
Writing to Keep It from Happening Again were interned—forced to move to
Yoshiko Uchida was in her last year of college when the United States entered World guarded camps. Most were American cit-
War II. Like most people of Japanese descent on the West Coast, Uchida and her family izens who had been born here and had
were uprooted by the government and forced to go to an internment camp. She and done nothing wrong. Nevertheless, the
her family lived at Tanforan Racetrack, in horse stall 40. Uchida later gave the same U.S. government feared that they might
“address” to the fictional family in her short story “The Bracelet.” Uchida said that in give support to Japan. When they were
writing about the internment camps, she tried to give readers a sense of the courage finally allowed to leave the internment
and strength that enabled most Japanese Americans to endure this tragedy: camps after the war, many Japanese
Americans found that other people had
“ I always ask the children why they think I wrote taken over their homes and businesses.
In 1989, the U.S. government issued a
Journey to Topaz and Journey Home, in which I formal apology to Japanese Americans
tell of the wartime experiences of the Japanese for the injustice that had been done to
them.
Americans. . . . I continue the discussion until
finally one of them will say, ‘You wrote those Preview the Selection
books so it won’t ever happen again.’ ” When Ruri and her family have to
move to an internment camp simply
Why do you think Uchida because they are of Japanese descent,
feels it is important that Ruri’s best friend, Laurie, gives her a
bracelet as a going-away gift.
people not forget the
Japanese internment?

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Read with a Purpose Read this story to discover how a young girl learns
an important lesson when she is forced to move to an internment camp during World
War II.

The
Play Audio Bracelet by Yoshiko Uchida

M
ama, is it time to go?” I hadn’t every Japanese person on the West Coast
planned to cry, but the tears was being evacuated by the government
came suddenly, and I wiped them to a concentration camp. Mama, my sis-
away with the back of my hand. I didn’t ter Keiko, and I were being sent from our
want my older sister to see me crying. home, and out of Berkeley, and eventually
“It’s almost time, Ruri,” my mother said out of California. A
gently. Her face was filled with a kind of The doorbell rang, and I ran to answer
sadness I had never seen before. it before my sister could. I thought maybe
I looked around at my empty room. The by some miracle a messenger from the gov-
clothes that Mama always told me to hang up ernment might be standing there, tall and
in the closet, the junk piled on my dresser, the proper and buttoned into a uniform, come
old rag doll I could never bear to part with— to tell us it was all a terrible mistake, that we
they were all gone. There was nothing left in
my room, and there was nothing left in the
rest of the house. The rugs and furniture were
gone, the pictures and drapes were down, and
the closets and cupboards were empty. The Historical Perspective We focus on the life of an author for a
house was like a gift box after the nice thing biographical perspective, but the historical perspective broad-
inside was gone; just a lot of nothingness. ens our focus. It asks us to consider the world at the time the
It was almost time to leave our home, story was written. What important historical events shape the
author’s thinking? What evidence of those events is in the text?
but we weren’t moving to a nicer house or
How is the story tied to the historical period in which it is set?
to a new town. It was April 21, 1942. The Could the story have happened in any other time or place?
United States and Japan were at war, and

A Read and Discuss What have you learned so far about the Vocabulary evacuated (ih VAK yoo ayt uhd) v.: removed
characters’ situation? from an area.

The Bracelet 41
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Connecting to the Text

How does this photograph
and picture of a bracelet
affect your understanding of
this story’s time period?

wouldn’t have to leave after all. Or maybe thought they were dangerous enemy aliens.
the messenger would have a telegram from If it weren’t so sad, it would have been
Papa, who was interned in a prisoner- funny. Papa could no more be dangerous
of-war camp in Montana because he had than the mayor of our city, and he was every
worked for a Japanese business firm. B bit as loyal to the United States. He had
The FBI had come to pick up Papa and lived here since 1917. C
hundreds of other Japanese community When I opened the door, it wasn’t a mes-
leaders on the very day that Japanese planes senger from anywhere. It was my best friend,
had bombed Pearl Harbor. The government Laurie Madison, from next door. She was

B Reading Focus Summarizing What has happened so Vocabulary interned (ihn TURND) v.: imprisoned or
far? Who is the main character? confined.
C Read and Discuss What have you learned from this para-
graph about people going to internment camps?

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holding a package wrapped up like a birth- I watched Laurie go down the block, her
day present, but she wasn’t wearing her party long blond pigtails bouncing as she walked.
dress, and her face drooped like a wilted tulip. I wondered who would be sitting in my
“Hi,” she said. “I came to say goodbye.” desk at Lincoln Junior High now that I was
She thrust the present at me and told gone. Laurie kept turning and waving, even
me it was something to take to camp. “It’s walking backward for a while, until she got
a bracelet,” she said before I could open to the corner. I didn’t want to watch any-
the package. “Put it on so you won’t have more, and I slammed the door shut. E
to pack it.” She knew I didn’t have one inch The next time the doorbell rang, it was
of space left in my suitcase. We had been Mrs. Simpson, our other neighbor. She was
instructed to take only what we could carry going to drive us to the Congregational
into camp, and Mama had told us that we Church, which was the Civil Control Station
could each take only two suitcases. where all the Japanese of Berkeley were sup-
“Then how are we ever going to pack the posed to report.
dishes and blankets and sheets they’ve told It was time to go. “Come on, Ruri. Get
us to bring with us?” Keiko worried. your things,” my sister called to me.
“I don’t really know,” Mama said, and It was a warm day, but I put on a sweater
she simply began packing those big impos- and my coat so I wouldn’t have to carry
sible things into an enormous duffel bag— them, and I picked up my two suitcases.
along with umbrellas, boots, a kettle, hot Each one had a tag with my name and our
plate, and flashlight. family number on it. Every Japanese family
“Who’s going to carry that huge sack?” had to register and get a number. We were
I asked. Family Number 13453.
But Mama didn’t worry about things Mama was taking one last look around
like that. “Someone will help us,” she said. our house. She was going from room to
“Don’t worry.” So I didn’t. room, as though she were trying to take a
Laurie wanted me to open her package mental picture of the house she had lived in
and put on the bracelet before she left. It for fifteen years, so she would never
was a thin gold chain with a heart dangling forget it. F
on it. She helped me put it on, and I told her I saw her take a long last look at the gar-
I’d never take it off, ever. den that Papa loved. The irises beside the
“Well, goodbye then,” Laurie said awk- fish pond were just beginning to bloom. If
wardly. “Come home soon.” Papa had been home, he would have cut the
“I will,” I said, although I didn’t know if I first iris blossom and brought it inside to
would ever get back to Berkeley again. D Mama. “This one is for you,” he would have

D Reading Focus Summarizing In one or two sen- F Read and Discuss What does Ruri think her mother is doing
tences, tell what has happened since Laurie came to the door. when she looks at the empty rooms?
E Read and Discuss What emotions do you think Laurie and Vocabulary thrust (thruhst) v.: shoved; pushed.
Ruri are feeling here?

The Bracelet 43
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said. And Mama would have smiled and were there to help us load our duffel bag.
said, “Thank you, Papa San”1 and put it in When it was time to board the buses, I sat
her favorite cut-glass vase. with Keiko, and Mama sat behind us. The
But the garden looked shabby and bus went down Grove Street and passed the
forsaken now that Papa was gone and small Japanese food store where Mama
Mama was too busy to take care of it. It used to order her bean-curd cakes and
looked the way I felt, sort of empty and pickled radish. The windows were all
lonely and abandoned. G boarded up, but there was a sign still
When Mrs. Simpson took us to the Civil hanging on the door that read, “We
Control Station, I felt even worse. I was are loyal Americans.”
scared, and for a minute I thought I was The crazy thing about the whole evacu-
going to lose my breakfast right in front ation was that we were all loyal Americans.
of everybody. There must have been over Most of us were citizens because we had
a thousand Japanese people gathered at been born here. But our parents, who had
the church. Some were old and some were come from Japan, couldn’t become citizens
young. Some were talking and laughing, and because there was a law that prevented
some were crying. I guess everybody else any Asian from becoming a citizen. Now
was scared too. No one knew exactly what everybody with a Japanese face was being
was going to happen to us. We just knew we shipped off to concentration camps.
were being taken to the Tanforan Racetracks, “It’s stupid,” Keiko muttered as we saw the
which the army had turned into a camp racetrack looming up beside the highway. “If
for the Japanese. There were fourteen other there were any Japanese spies around, they’d
camps like ours along the West Coast. have gone back to Japan long ago.”
What scared me most were the soldiers “I’ll say,” I agreed. My sister was in high
standing at the doorway of the church hall. school and she ought to know, I thought.
They were carrying guns with mounted bayo- When the bus turned into Tanforan, there
nets. I wondered if they thought we would try were more armed guards at the gate, and I saw
to run away and whether they’d shoot us or barbed wire strung around the entire grounds.
come after us with their bayonets if we did. H I felt as though I were going into a prison, but
A long line of buses waited to take us to I hadn’t done anything wrong. I
camp. There were trucks, too, for our bag- We streamed off the buses and poured
gage. And Mama was right; some men into a huge room, where doctors looked
down our throats and peeled back our eye-
1. San (sahn): Japanese term added to names to
indicate respect. lids to see if we had any diseases. Then we

G Literary Focus Setting What feelings are evoked I Read and Discuss How does the treatment of the Japanese
by this description of the setting? How do these feelings help you Americans and the appearance of Tanforan cause Ruri to feel like a
understand Ruri’s experiences at this point in the plot? prisoner?
H Read and Discuss What is your impression of the events the Vocabulary forsaken (fawr SAY kuhn) adj.: abandoned.
author is describing here?

44 Chapter 1
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August 20, 1942 by Yoshiko Uchida.

Analyzing Visuals Connecting to the Text How does this scene of an internment camp compare
with the picture in your mind of the camp where Ruri and her family lived?

were given our housing assignments. The We walked down the racetrack, looking
man in charge gave Mama a slip of paper. for Barrack 16. Mr. Noma, a friend of Papa’s,
We were in Barrack 16, Apartment 40. helped us carry our bags. I was so busy
“Mama!” I said. “We’re going to live in looking around I slipped and almost fell on
an apartment!” The only apartment I had the muddy track. Army barracks had been
ever seen was the one my piano teacher built everywhere, all around the racetrack
lived in. It was in an enormous building in and even in the center oval.
San Francisco, with an elevator and thick- Mr. Noma pointed beyond the track
carpeted hallways. I thought how wonder- toward the horse stables. “I think your bar-
ful it would be to have our own elevator. rack is out there.”
A house was all right, but an apartment He was right. We came to a long stable
seemed elegant and special. that had once housed the horses of Tanforan,

The Bracelet 45
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and we climbed up the wide ramp. lost Laurie’s bracelet!” I

Each stall had a number painted on screamed. “My bracelet’s
it, and when we got to 40, Mr. Noma gone!”
pushed open the door. We looked all over
“Well, here it is,” he said, the stall and even down
“Apartment 40.” “Th ose are things the ramp. I wanted to
The stall was narrow and we can carry in our run back down the track
empty and dark. There were and go over every inch of
two small windows on each
hearts and take with ground we’d walked on,
side of the door. Three folded us no matter where but it was getting dark and
army cots were on the dust- we are sent.” Mama wouldn’t let me.
covered floor, and one light I thought of what I’d
bulb dangled from the ceiling. promised Laurie. I wasn’t
That was all. This was our apart- ever going to take the bracelet off, not
ment, and it still smelled of horses. even when I went to take a shower. And
Mama looked at my sister and now I had lost it on my very first day in
then at me. “It won’t be so bad camp. I wanted to cry.
when we fix it up,” she began. “I’ll I kept looking for it all the time we
ask Mrs. Simpson to send me were in Tanforan. I didn’t stop looking
some material for curtains. I could make until the day we were sent to another
some cushions too, and . . . well . . .” She camp, called Topaz, in the middle of a
stopped. She couldn’t think of anything desert in Utah. And then I gave up. K
more to say. J But Mama told me never mind. She
Mr. Noma said he’d go get some mattresses said I didn’t need a bracelet to remember
for us. “I’d better hurry before they’re all gone.” Laurie, just as I didn’t need anything to
He rushed off. I think he wanted to leave so remember Papa or our home in Berkeley
that he wouldn’t have to see Mama cry. But or all the people and things we loved and
he needn’t have run off, because Mama didn’t had left behind.
cry. She just went out to borrow a broom and “Those are things we can carry in our
began sweeping out the dust and dirt. “Will hearts and take with us no matter where
you girls set up the cots?” she asked. we are sent,” she said. L
It was only after we’d put up the last cot And I guess she was right. I’ve never
that I noticed my bracelet was gone. “I’ve forgotten Laurie, even now. M

J Read and Discuss How do the family’s living arrangements L Literary Focus Conflict Has Ruri’s conflict been
contrast with Ruri’s idea of an apartment? resolved? If so, how?
K Reading Focus Summarizing In two or three sen- M Read and Discuss What does the conversation between
tences, state what has happened since Ruri said goodbye to Laurie. Mama and Ruri teach Ruri?

46 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

The Bracelet
Literary Response and Analysis
Reading Skills Focus Literary Skills: Setting and Conflict
Quick Check 9. Analyze The plot centers on a major conflict
1. Why does Ruri’s family have to leave home? that goes far beyond the characters in the
story. Ruri’s family is on one side of this con-
2. Why does Laurie give Ruri a bracelet?
flict. Who or what is on the other side? Explain
3. What were the barracks used for before Ruri whether this conflict is resolved.
and her family went to live there?
10. Analyze This story’s plot can be reduced to
Read with a Purpose this: Laurie gives Ruri a bracelet as a going-
away present. Ruri loses it. How do the larger
4. What lesson does Ruri learn?
setting (the United States during World War
Reading Skills: Summarizing II) and the two specific settings in the story
(Ruri’s home and the internment camp) affect
5. Review and revise the chart that you filled in
the plot?
as you read the story. Be sure to add notes on
the resolution, or ending. Now, use that chart Literary Skills Review: Point of View
to help you write a paragraph that summa-
11. Evaluate In the first-person point of view,
rizes the plot of this story.
the narrator tells the story, using the personal
pronoun I. Why do you think the writer tells
Literary Skills Focus this story from Ruri’s first-person point of
Literary Analysis view? What can Ruri tell you that no other
6. Infer How do you think being forced to live character can tell you? What does Ruri not
in Apartment 40 makes Ruri and her family know?
feel?
7. Extend Discuss the different ways experi-
ences like Ruri’s might affect the people
Writing Skills Focus
involved. How might they deal with life in Think as a Reader/Writer
the future, and how might they interact with Use It in Your Writing Review your “T” chart.
people who are different from them? Then, write a brief description of a place, using
8. Literary Perspectives What does the fact contrasting details, such as new/shabby. Include a
that the United States and Japan are at war contrast between how you imagined the place to
tell you about Ruri’s family being sent away? be and how it really appears.
What does the story show you about how
people react under extreme circumstances?
What truths do you think “The
Bracelet” reveals about fairness
and about a family enduring
difficult and unexpected changes?

Applying Your Skills 47

 Back to main Table of contents
Reading Standard 1.3 Recognize the
origins and meanings of frequently used
foreign words in English and use these words accu-
rately in speaking and writing.
The Bracelet

Vocabulary Development
Word Origins Words kimono (kih MOH noh)
Borrowed
Many of the words we use today can be traced futon (FOO tahn)
from Other
to Latin or Old English, the language used in karaoke (kahr ee OH kee)
Languages In sayonara (sah yoh NAH rah)
England from the 400s until around the 1100s. the past cen- origami (awr uh GAH mee)
tury a number
of Japanese
Your Turn evacuated
words entered the English language. Use
From the Vocabulary words at interned
a dictionary to find out what each of the
right, choose the word that cor- thrust
Japanese words in the box means. Then,
rectly completes each sentence forsaken
fill in the blanks in the sentences that fol-
below. Then, use each word in a low. Use context clues to find the words
sentence that shows you know that fit best. What other Japanese words
its meaning. can you think of that have entered the
1. The Old English word forsacan, mean- English language?
ing “to oppose,” is related to the 1. My cousin enjoyed sleeping on a
word .
so much, she said,
2. The Latin word trudere, meaning “to push,” is “ ” to her mattress.
related to the word .
2. I brought my friend a beautiful silk
3. The Latin word internus, meaning “inward,” for her birthday.
is related to the word .
4. The Latin verb vacuare, meaning
“to make empty,” is the basis of the
word . Academic Vocabulary

Talk About . . .
If you were Ruri, what would you do so
that you could again interact in positive
ways with non-Japanese Americans?
How would you achieve peace of mind
and get over resentment caused by
how you and your family were treated?

Learn It Online
Uncover more about this story with these links:
[Link] H6-48 Go

48 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

Grammar Link CHOICES

Adjectives As you respond to the Choices, use these Academic Vocabulary
An adjective is a word that is used to modify a words as appropriate: achieve, create, interact, major.
noun or a pronoun. To modify a word means to REVIEW
describe the word or to make its meaning more Write a Blog Entry
definite. An adjective modifies a noun or pronoun TechFocus Imagine you are Ruri. Write a blog
Te
by adding information about what kind, which one, entry about your experiences in the camp so
how many, or how much. that your friends from school can know about
Which One or How Many or your life there. Describe what happens to you
What Kind ? after you leave Berkeley and what happened to
Ones? How Much?
the bracelet Laurie gave you. Be sure to describe
sad face other stable all Japanese
the setting and its effects on you.
empty room those barracks one bracelet
CONNECT
tall messenger next garden many soldiers Write from Another Point of View
Ruri’s mother tells her that we don’t need things
Adjectives usually come before the words they to remind us of people and places; we carry
modify. Sometimes, however, an adjective comes them in our hearts. Suppose that this story
after the word it modifies. had been told from the point of view of Ruri’s
Laurie is sad. (The predicate adjective sad mother. Rewrite the scene between Ruri and
modifies Laurie.) Laurie near the beginning of the story, telling it
Mama, upset and confused, stopped talking. from the perspective of Ruri’s mother.
(The adjectives upset and confused modify the
EXTEND
noun Mama.)
Note: The words a, an, and the are a special kind of
Write to Persuade Voters
Imagine that you are running
adjective called articles.
for senator from your state shortly after World
War II is over. Write a short persuasive speech
Your Turn that will convince voters that American citizens
Identify the adjectives and words they modify in should never again be sent to internment camps
the sentences below. Do not include a, an, or the. if they have done nothing wrong. Be sure to
explain your reasoning.
1. Ruri wiped salty tears from her face.
2. The old rag doll was gone.
3. We weren’t moving to a nicer house.
4. She was my best friend. Learn It Online
There’s more to this story than meets the eye.
5. A long line of buses waited for us. Expand your view at this site:
[Link] H6-49 Go

Applying Your Skills 49

 Back to main Table of contents

COMPARING TEXTS

Comparing
and Contrasting
Plot and Setting

CONTENTS
S H O R T S TO R Y
The Southpaw
by Judith Viorst
page 53
How can we QuickTalk
S H O R T S TO R Y
prove to others, Think of movies or stories in which char-
Concha as well as our- acters’ abilities are tested. What chal-
by Mary Helen Ponce selves, what we lenges do we face when we try to show
page 58 can achieve? others and ourselves what we can do?

50 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

The Southpaw / Concha

Literary Skills Focus

Plot and Setting The plot of a story consists of a series of events. The Vocabulary
setting is the time and place in which these events occur. Sometimes Concha
the setting plays an essential role in a story by influencing the conflict,
treacherous (TREHCH uhr uhs) adj.:
or problem, and its resolution, or how the conflict is solved. Other
dangerous. The children played with
times, the story could be set in almost any time or place—the setting
the treacherous red ants.
doesn’t shape the plot, or the writer hasn’t described the setting at all.
As you read, think about the way the setting does—or does not—influ- timid (TIHM ihd) adj.: shy; lacking
ence the problem the main character faces in each story. self-confidence. Concha was timid
and avoided rough games.
Reading Skills Focus feat (feet) n.: accomplishment; daring
Summarizing When you summarize a story, you tell about its main act. Concha’s feat amazed most of
the children.
events and details in your own words. Summarizing can help you iden-
tify the major elements of the plot and the setting’s influence on it. investigate (ihn VEHS tuh gayt) v.:
look into; examine. No adults came
Into Action As you read, record the main elements of each story in a to investigate the cries.
chart like the one below.
remedy (REHM uh dee) n.: cure; solu-
Title and Author: “The Southpaw” by Judith Viorst tion. Mud was the best remedy for
ant bites.
Setting:
Main Characters:
Conflict or Problem:
Sequence of Main Events: Homophones Which Vocabulary
1. word above is a homophone—a
2. word that sounds like another word
[etc.] but has a different meaning? How do
Resolution: you spell the word it sounds like?

Writing Skills Focus

Think as a Reader/Writer
Find It in Your Reading What makes these stories realistic?
As you read, record in your Reader/Writer Notebook details of the
plot or setting that seem real to you.
Learn It Online
Reader/Writer Organize your thoughts! Use one of the interactive
graphic organizers at:
Notebook [Link] H6-51 Go
Use your RWN to complete the activities for these selections.

Preparing to Read 51
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MEET THE WRITERS Preview the

Selections
Judith Viorst “The Southpaw” takes an unusual form.
Courtesy of the author.

It’s told completely through notes

(1931– ) written back and forth between two
friends—Janet and Richard.
Laughing at the Ups and Downs
When she was only seven years old, Judith In “Concha,” the narrator is a character
Viorst decided that she wanted to be a writer. in the story. So is her brother Joey and
At first she wrote about “deadly serious things.” several friends: Mundo, a boy; Beto,
Later, she found success in writing humorously about the ups another boy; Virgie, a girl; and, of
and downs of everyday life. Viorst once explained her approach course, Concha, the girl whose name is
to successfully writing about young people this way: “Kids need the title of the story.
to encounter kids like themselves—kids who can sometimes be
crabby and fresh and rebellious, kids who talk back and disobey,
tell fibs and get into trouble, and are nonetheless still likable and
redeemable.”

Mary Helen
Ponce
(1938– )

From a Latina Perspective

Like the characters in “Concha,” Mary Helen Ponce grew up in
Pacoima, California, in a Mexican American community. Many of
her stories are based on her own life. “I chose to write of a lov-
ing family that, throughout the journey, is sustained by bonds of
mutual love and respect,” she says. Today, Ponce often speaks and
writes of the problems of women, especially of Latina women
whose contributions to the American Southwest have been for-
gotten by history.

Both writers create stories that resemble real

life. What can we gain from reading realistic
fiction?

52 Chapter 1
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SHORT STORY

Play Audio 1

by Judith Viorst

Read with a Purpose Build Background

As you read, note how this writer brings two char- This story was written before the days of computer and wireless tech-
acters and a situation to life just by reproducing nology, so the characters communicate through handwritten notes on
notes that are passed back and forth. whatever scraps of paper are handy. The focus of their notes is a baseball
team that Richard plays for and manages. When the story was written,
it was almost unthinkable for a girl to play on a boy’s team.

Dear R ic hard ,
your birt hday
Don’t invite m e to
rt y be ca us e I’m not coming. And
pa t
ve ba ck th e D is ne yland sweatshir
gi od
sa id yo u co u ld w ear. If I’m not go
I t
ou gh to pl ay on your team , I’m no Dear Janet,
en
friends wit h . Here is your stupid Disneyland
good enough to be sweatshirt, if that’s how you’re going to
,
Your form er friend
be. I want my comic books now—finished
Janet
you go to the or not. No girl has ever played on the
P. S. I hope when
ca vities. Mapes Street baseball team, and as long
dent is t he finds 20
as I’m captain, no girl ever will.
Your former friend,
Richard
P.S. I hope when you go for your checkup
you need a tetanus shot. A

1. The Southpaw: The title is a sports slang term for a left-

handed person, especially a left-handed pitcher in baseball.

A Read and Discuss What situation has the author set up in these two notes?

The Southpaw 53
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Dear R ic hard ,
h’s nam e
I’m changing my goldfis
y. Don’ t count
from R ic hard to Stanle Dear Janet,
esident next
on my vote for class pr I’m not saving anymore seats for
a member of
year. Just because I’m
mean I’m not you on the bus. For all I care you can stand
the ballet club doesn’ t
the whole way to school. Why
a terrific ballplayer.
Your form er friend , don’t you just forget about baseball
Janet and learn something nice like knitting?
fir st
P. S. I see you lost your Your former friend,
gam e 28-0. Richard
P.S. Wait until Wednesday.

Dear R ic hard , with us

d call som eone to go
M y father said I coul you didn’t
dg e sundaes. In case
for a ride and hot- fu
u.
notice, I didn’t call yo
Your form er friend , Dear Janet,
Janet Remember when I took the laces out of my
P. S. I see you lost your blue-and-white sneakers and gave them to you?
second game, 34-0. I want them back.
Your former friend,
Richard
P.S. Wait until Friday.

Dear R ic hard
,
Congratulatio
ns on y o u r unb
Eight st raight roken record .
losses, wow: I
the laug hing u n d ers tand you ’r
stock of Ne w e
Your form er fr J e rse y.
iend ,
J an e t
P.S . Why don’t
you an d your
baseball and le team forg et a
arn somethin bo u t
g nice like kn
it ting m aybe?
B

B Literary Focus Setting What clue about where the

story takes place does Janet provide in this note?

54 Chapter 1
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Dear Janet,
Here’s the silver horseback riding trophy
that you gave me. I don’t think I want to keep
it anymore.
Your former friend,
Richard
P.S. I didn’t think you’d be the kind
who’d kick a man when he’s down.

Dear Ric hard,

I wasn’ t kicking exactly. I was
kicking back.
Your former friend,
Janet
P.S . In case you were wondering,
my bat ting averag e is .34 5.

Dear Janet,
Alfie is having his tonsils out
tomorrow. We might be able to let you
catch next week.
Richard

Dear Richard,
I pitch .
Janet

Dear Janet,
Joel is moving to Kansas and Danny
sprained his wrist. How about a
permanent place in the outfield?
Richard C
C Reading Focus Summarizing In your own words,
explain what has happened in the last three notes.

The Southpaw 55
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Dear R ic hard ,
I pitc h .
D Dear Janet,
Janet
Ronnie caught the chicken pox and Leo
broke his toe and Elwood has these stupid
violin lessons. I’ll give you first base, and
that’s my final offer.
Richard

Dear Richard ,
rilyn Jack son
Susan Reilly plays fir st base, Ma
r field, I pitch .
catches, Et hel Kahn plays cente
It ’s a packag e deal.
Janet
losing streak.
P.S . Sorry about your 12-game

Dear Janet,
Please! Not Marilyn Jackson.
Richard

Dear R ic hard , le.

at I was unreasonab
Nobody ever said th
ow ab ou t Li zz ie M ar tindale instead?
H
Janet

Dear Janet,
At least could you call your
goldfish Richard again?
Your friend,
Richard E

Analyzing Visuals Connecting to the Text How does

this girl’s appearance express Janet’s conflict?

D Read and Discuss What’s Janet doing by sending the same E Literary Focus Plot How is the conflict resolved
note again? finally? What has each side given up?

56 Chapter 1
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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

The Southpaw
Literary Response and Analysis
Reading Skills Focus Literary Skills Focus
Quick Check Literary Analysis
1. Why does Janet demand that Richard give 7. Extend Try reversing the situation in this
back her Disneyland sweatshirt? story. What judgments would the girls make
2. Why does Richard offer to let Janet catch? about the boys? How do those judgments, or
3. Why does Janet refuse Richard’s offer to catch, prejudices, cause conflicts?
play in the outfield, and play first base? 8. Evaluate If this story had been written in a
typical short story format, would it have been
Read with a Purpose more or less effective? Explain. In what ways
4. How does the author show what each char- would a more typical version be different
acter’s personality is like? What do you learn from the form of this story?
about Janet and Richard’s relationship from
their notes? To answer, think about what their Literary Skills: Setting and Plot
writing notes back and forth tells you about 9. Analyze Explain the conflict, or problem, in
their true feelings for each other. the story. How does this story demonstrate
that being stubborn and close-minded can
Reading Skills: Summarizing get in the way of a good friendship?
5. Use the information in the chart you filled in 10. Infer Although the author provides very little
as you read to write a paragraph summariz- information about the story’s setting, what
ing the story. Then, compare your summary clues do the notes contain about where the
to that of a partner. Did you include the same events take place, what the characters do,
information in your summaries? Why or why and how they live?
not? 11. Analyze Could this story be set in any time
6. Compare and Contrast What’s similar about or place? Explain. How might a different set-
the way Richard and Janet write to each ting influence the problem and its resolution?
other? Of the two, who do you think is better
at reaching a way to work out their problem?
Why? Writing Skills Focus
Think as a Reader/Writer
Use It in Your Writing Write the next two
notes that Janet and Richard might send to each
other. Be sure to include realistic events and
details that bring the situation to life.

Applying Your Skills 57

 Back to main Table of contents
SHORT STORY

Play Audio
Concha
Concha by Mary Helen Ponce

Read with a Purpose Build Background

Read this story to decide if you agree that Concha This writer is known for mixing Spanish and English in her stories, so
holds “first place for bravery.” you’ll find many Spanish words in italic type here. If you read closely,
you’ll also find that most of the Spanish words are explained in context.
Preparing to Read for this selection is on For example, in the first sentence the narrator says that as children she
page 51. and her brother Joey “were left alone to find ways para divertirnos.”
If you do not know what this Spanish phrase means, you can find the
meaning in the next part of the sentence: “to keep ourselves busy.”

W
hile growing up in the small would get mushy, crumble in our mouths
barrio of Pacoima, my younger and force us to gag—and lose a fight.
brother Joey and I were left During an important battle a short pause
alone to find ways para divertirnos, to keep could spell defeat. Oftentimes while
ourselves busy—and out of our mother’s playing with Joey I watched closely.
way. One way in which we whiled away long When he appeared to gag I dashed
summer days was by making pea shooters. back to the pepper tree to load up
These were made from a hollow reed which on ammunition. I pelted him with-
we first cleaned with a piece of wire. We out mercy until he begged me to
then collected berries from los pirules, the stop. B
pepper trees that lined our driveway. Once “No more. Ya no,” Joey cried as he
we amassed enough dry berries we put bent over to spit berries. “No more!”
them in our mouths and spat them out at “Ha, ha I got you now.” I spat berries
each other through the pea shooter. A at Joey until, exhausted, we called a truce
The berries had a terrible taste—they and slumped onto a wooden bench.
were even said to be poison! I was most care- In fall our game came to a halt—the trees
ful not to swallow them. We selected only dried up; the berries fell to the ground. This
the hard, firm peas. The soft ones, we knew, was a sign for us to begin other games.

A Literary Focus Setting What have you learned so far B Literary Focus Plot What conflict have the children
about the story’s setting? created for themselves? Why is it important not to lose a battle?

58 Chapter 1
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Our games were seasonal. During early Playing with ants was a real challenge!
spring we made whistles from the long While placing our men in battle positions we
blades of grass that grew in the open field timed it so as not to get bitten. We delighted
behind our house. In winter we made dams, in beating the ants at their own game. C
forts, and canals from the soft mud that Sometimes we got really brave and
was our street. We tied burnt matchsticks picked up ants with a stick, then twirled the
together with string. These were our men. stick around until the ants got dizzy-drunk
We positioned them along the forts (cam- (or so we thought)—and fell to the ground.
ouflaged with small branches). We also We made ridges of dirt and pushed the ants
played kick the can, but our most challeng- inside, covered them with dirt and made
ing game was playing with red ants. bets as to how long it would take them to
The ants were of the common variety: dig their way out.
red, round and treacherous. They invaded Concha, my best friend and neighbor,
our yard and the llano every summer. We was quite timid at school. She avoided all
always knew where ants could be found, rough games such as kickball and Red Rover.
donde habia hormigas. We liked to build When it came to playing with ants, how-
mud and grass forts smack in the middle of ever, Concha held first place for bravery. She
ant territory. The ants were the enemy, the could stand with her feet atop an anthill for
matchstickmen the heroes, or good guys. the longest time! We stood trembling as ants

C Reading Focus Summarizing In two sentences, tell Vocabulary treacherous (TREHCH uhr uhs) adj.:
what you have learned about the children’s games. dangerous.
timid (TIHM ihd) adj.: shy; lacking self-confidence.

Analyzing Visuals Connecting to the Text

What sort of game are these two boys playing? In what ways
might it be similar to events in this story?

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crawled up our shoes, then quickly stomped of Concha’s sock . . . and bit her!
our feet to scare them off. But Concha never “Ay, ay, ay,” screeched Concha.
lost her nerve. D “Gosh, she’s gonna die,” cried an
One time we decided to have an ant alarmed Virgie as she helped stomp out
contest. The prize was a candy bar—a Sugar ants. “She’s gonna die!”
Daddy sucker. We first found an anthill, lined “She’s too stupid to die,” laughed
up, then took turns stand- Mundo, busy
ing beside the anthill while brushing ants off
the juicy red ants climbed We stood his feet. “She’s too
over our shoes. We dared stupid.”
not move—but when the
and counted, “But sometimes
first ant moved towards holding our breath people die when ants
our ankles we stomped as the ants bite them,” insisted
away, our Oxfords making Virgie, her face pale.
swirls of dust that allowed continued to climb. “They gets real sick.”
us to retreat to the side- Fifteen, twenty! “The ants will prob-
lines. But not Concha. She Twenty ants were ably die,” Mundo snick-
remained in place as big ered, holding his stomach
red ants crept up her shoes. crawling over and laughing loudly. “Ah,
One, five, ten! We stood Concha! ha, ha.”
and counted, holding our “Gosh you’re
breath as the ants contin- mean,” said a
ued to climb. Fifteen, twenty! Twenty ants shocked Virgie, hands on hips. “You
were crawling over Concha! E are so mean.”
“Ujule, she sure ain’t scared,” cried “Yeah, but I ain’t stupid.”
Mundo in a hushed voice. “No le tiene miedo “Come on you guys, let’s get her to
a las hormigas.” the mangera,” Beto cried as he reached
“Uhhhhh,” answered Beto, his eyes wide. out to Concha who by now had decided
“. . . I mean for a girl,” added Mundo as he she would live. “Come on, let’s take her
poked Beto in the ribs. We knew Beto liked to the faucet.” F
Concha—and always came to her rescue. We held Concha by the waist as she
We stood and counted ants. We were so hobbled to the water faucet. Her cries were
caught up in this feat that we failed to notice now mere whimpers as no grownup had
the twenty-first ant that climbed up the back come out to investigate. From experience

D Read and Discuss What’s Concha able to do? F Literary Focus Plot What conflicts do you identify
E Literary Focus Plot What problem does Concha face in among the various characters? Who is on Concha’s side, and who is
this contest? against her?
Vocabulary feat (feet) n.: accomplishment; daring act.
investigate (ihn VEHS tuh gayt) v.: look into; examine.

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we knew that if a first cry did not bring stood and watched, thinking perhaps the
someone to our aid we should stop cry- wasp had mistaken Concha’s curly hair for a
ing—or go home. bush! We watched—and waited.
We helped Concha to the faucet, turned “Ujule, she sure is brave,” exclaimed
it on and began to mix water with dirt. Virgie as she sucked on a Popsicle. “She sure
We knew the best remedy for insect bites is brave.”
was lodo. We applied mud to all bug stings “She’s stupid,” grunted Mundo, trying to
to stop the swelling. Mud was especially be indifferent. “She’s just a big show-off who
good for wasp stings, the yellowjackets we thinks she’s so big.”
so feared—and from which we ran away “So are you,” began Virgie, backing off.
at top speed. Whenever bees came close “So are you.”
we stood still until they flew away, but “Yeah? Ya wanna make something
there were no set rules on how to get rid outta it?”
of avispas. We hit out at them, and tried to “Let’s go,” interrupted Beto in his
scare them off but the yellowjackets were soft voice.
fierce! In desperation we flung dirt at them, “Ya vamonos.” He smiled at Concha—
screamed and ran home. G who smiled back. H
Not long after the ant incident Concha In time the wasp flew away. Concha
decided she was not about to run when a immediately began to brag about how a
huge wasp broke up our game of jacks. She “real big wasp” sat on her hair for hours. She
stood still, so still the wasp remained on her never mentioned the ant contest—nor the
dark head for what seemed like hours. We twenty-first ant that led her to el lodo.

G Reading Focus Summarizing What happens to Vocabulary remedy (REHM uh dee) n.: cure; solution.
Concha after the ant contest?
H Literary Focus Plot What conflict does Beto resolve?
How does he do this?

Connecting to the Text

How closely does this image
match your view of Concha
at the story’s resolution?

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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

Concha
Literary Response and Analysis
Reading Skills Focus Literary Skills Focus
Quick Check Literary Analysis
1. Why does playing with the ants pose a “chal- 11. Interpret What do you think is Concha’s
lenge” for the children? reason for standing on the anthill and later
2. How does Beto feel about Concha? letting the wasp sit in her hair?
3. Why does Concha never mention the ant 12. Extend What seems to be Mundo’s view of
contest? girls? How do you think this view accounts
for the things he says in the story? Explain
Read with a Purpose whether you think Mundo’s attitude toward
4. Do you agree with the narrator that Concha is girls is common today.
brave? Why or why not?
Literary Skills: Plot and Setting
Reading Skills: Summarizing 13. Evaluate Explain Concha’s major conflict,
5. Use the information in the chart you filled in or problem, in the story and the conflict’s
as you read to write a paragraph summariz- resolution. In your opinion, is the conflict
ing the story. Then, discuss your summary interesting? Is the resolution satisfying? Why
with a partner. Have you included all the or why not?
story’s major events and details in your sum- 14. Identify Describe the story’s setting. What
mary? Is there any information you should details does the author provide that help you
take out? visualize, or picture in your mind, the place
where the events occur?
15. Analyze What is the setting’s influence on
Vocabulary Check the problem Concha faces and its resolution?
Match the Vocabulary words in the first column with How would the story be different if the set-
their definitions in the second column. ting were changed? For example, how might
6. remedy a. shy a girl prove she is brave if she lives in a big
7. investigate b. cure city?
8. treacherous c. accomplishment
9. timid d. look into
10. feat e. dangerous Writing Skills Focus
Think as a Reader/Writer
Use It in Your Writing Write a brief paragraph
explaining whether you think the events and set-
ting in “Concha” are realistic. Use examples from
the notes you took in your Reader/Writer Notebook
to support your opinion.

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COMPARING TEXTS Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

The Southpaw / Concha

Writing Skills Focus CHOICES

Write a Comparison-Contrast
As you respond to the Choices, use these Academic Vocabulary
Essay words as appropriate: achieve, influence, interact, and major.
Write an essay comparing and contrasting the
plot and setting in “The Southpaw” and “Concha.” REVIEW
You can organize your essay in one of two ways: Write an Essay
1. Write two paragraphs, one for each selec- Think of a movie or another
tion. In your first paragraph, write about “The story (not one in this chapter) in which the set-
Southpaw,” analyzing the conflict, the resolu- ting plays a major role. Write an essay in which
tion, and the influence of the setting on the you analyze the influence of the setting on the
plot. In your second paragraph, present the problem and its resolution. You might want to
same information for “Concha.” Then, wrap conclude by explaining how the story would
up your essay with a final paragraph in which change if the setting were different.
you analyze the main ways the selections
are alike and different and explain what you CONNECT
learned from reading them. Write a Story in Letters
2. Write three paragraphs—one on the conflict TechFocus Work with a partner to create
Te
in both selections, one on the resolution in a “collaborative story” (a story written with
both selections, and one on the influence another person) in the form of e-mail or text
of the setting on the plot in both selections. messages sent back and forth between two
Conclude your essay with a paragraph that characters. Show through the messages that
sums up how the two selections are alike and your characters are having a conflict over some-
different and what you learned from them. thing. Be sure you resolve the conflict by the
Use the workshop on writing a comparison- end of your story.
contrast essay, pages 450–459, for help with this
assignment. EXTEND
Draw a Comic Strip
Create a comic strip of at least three panels
showing an interaction between a male and a
What truths do the characters female character in one of these stories. Your
in these stories discover about comic strip should have a concept, or idea,
behind it, such as “Boys and girls don’t always
themselves and their friends? speak the same language.”

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INFORMATIONAL TEXT FOCUS

Notes, Outlines, and

Summaries
CONTENTS
M AG A Z I N E A R T I C L E
Wartime Mistakes,
Peacetime Apologies
by Nancy Day
page 66

M AG A Z I N E A R T I C L E
What a Character: Iwao
Takamoto and His Toons
The World Almanac
page 74

Facing the truth can mean QuickWrite

Think of a time when you faced unfair treatment. Briefly
admitting mistakes. How can describe the situation and what you found unfair about it.
coming to terms with mistakes Were you offered an apology? If so, did it help? Explain how
help you overcome them? you dealt with your feelings of injustice.

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Reading Standard 2.4 Clarify an
MAGAZINE ARTICLE understanding of texts by creating
outlines, logical notes, summaries, or reports.

Wartime Mistakes, Peacetime Apologies

Informational Text Focus

Vocabulary
Taking Notes “The Bracelet” (page 38) is fiction, but it is based on real
prescribe (prih SKRYB) v.: define
historical events. Some of those events are explained in the following
officially. Governments often pre-
article. You’ll learn the facts about Executive Order 9066 and its effects
scribe new laws during wartime.
on one real-life Japanese American woman. As you read the article,
you’ll take notes to help you clarify your understanding of the text. discretion (dihs KREHSH uhn) n.:
authority to make decisions.
Into Action To take logical, detailed notes, get some notecards and Executive orders are within the
follow these steps: president’s discretion.
1. Read through the selection once to find the main ideas, or most compensation (kahm puhn SAY
important points. shuhn) n.: payment given to make
2. Make one card for each main idea. up for a loss or injury. Internees
3. Re-read the selection, and take notes about each main idea. List received financial compensation
essential details about them in your own words, or use quotation in 1990.
marks around the author’s words. Your notecards will look like this: rectify (REHK tuh fy) v.: correct. It
may be difficult to rectify the mis-
Main Idea takes of the past.
• supporting detail
• supporting detail
• supporting detail
• supporting detail
Word Parts A suffix is a word part
attached to the end of a word or
root. Knowing suffixes may help you
The supporting details you choose to include should answer key determine a word‘s part of speech.
questions about the main idea, such as who? what? when? where? For instance, the suffix –fy means
why? and how? “make or form into.” It turns a word
into an action word—a verb. Even if
you didn’t know the exact meaning
Writing Skills Focus of rectify, the suffix would tell you
As you read “Wartime Mistakes, that the word is probably a verb.
Peacetime Apologies,” look at the model cards that appear with the What two vocabulary words above
selection and write down the missing word or words in your Reader/ share the same suffix?
Writer Notebook. Work with one idea at a time.

Learn It Online
Reader/Writer Practice taking notes with the interactive
Notebook Reading Workshop on:
Use your RWN to complete the activities for this selection. [Link] H6-65 Go

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MAGAZINE ARTICLE

Wartime Mistakes,
Peacetime Apologies

by Nancy Day, from Cobblestone Magazine

Read with a Purpose

Read the following article to discover what happened to many Japanese Americans
during and after World War II—and who was responsible.

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Play Audio

O
n March 13, 1942, Yoshiko Imamoto
Yoshiko Imamoto
opened her door to face three FBI
• On _______ (when?), the FBI arrested her
agents. They let her pack a nightgown
with no warning.
and a Bible, then took her to jail while they
• 24-year U.S. resident
“checked into a few things.” Imamoto had lived • teacher
in America for twenty-four years. She was a • had broken no laws
teacher and had done nothing wrong. But a
month earlier, President Franklin D. Roosevelt
had issued Executive Order 9066, which drasti-
cally changed the lives of Imamoto and more
than 120,000 other people of Japanese ancestry
living in the United States. A Pearl Harbor
When Japan bombed Pearl Harbor on • 12/7/1941
• Japan attacked U.S.
December 7, 1941, Japanese Americans were
• Japanese Americans felt _______ (how?).
caught in the middle. They felt like Americans
• They were treated_______ (how? by
but looked like the enemy. Neighbors and
whom?).
co-workers eyed them suspiciously. Then
Executive Order 9066, issued on February 19,
1942, authorized the exclusion of “any or all
persons” from any areas the military chose. The
word “Japanese” was never used, but the order
was designed to allow the military to force Executive Order 9066
Japanese Americans living near the coast to • issued by President Franklin D. Roosevelt
leave their homes for the duration of the war. • affected _______ (how many?) people
• issued _______ (when?)
Some were allowed to move inland, but most,
• allowed_______ (what?)
like Yoshiko Imamoto, were herded into pris-
• never used _______ (what word?)
onlike camps. B • Only _______ (who?) were moved.
A Informational Focus Taking Notes Which model • Most were moved _______ (where?).
notecard relates to the main idea of the first paragraph?
B Informational Focus Taking Notes Remember to
answer key questions—such as when?—about the main ideas. What
dates are given in this paragraph?

Wartime Mistakes, Peacetime Apologies 67

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Connecting to the Text

If you were taking notes
about this image, what
would you write down
about the expression on this
toddler’s face? How does
the expression reflect the
emotions people must have
felt when forced to go to
internment camps?

I hereby authorize and direct the Secretary of War, and

the Military Commanders whom he may from time to time
designate, whenever he or any designated Commander deems
such action necessary or desirable, to prescribe military areas
in such places and of such extent as he or the appropriate
Military Commander may determine, from which any or all
persons may be excluded, and with respect to which, the right
of any person to enter, remain in, or leave shall be subject to
whatever restrictions the Secretary of War or the appropriate
Military Commander may impose in his discretion.
—President Franklin D. Roosevelt,
excerpt from Executive Order 9066,
1942
Vocabulary prescribe (prih SKRYB) v.: define officially.
discretion (dihs KREHSH uhn) n.: authority to make decisions.

68 Chapter 1
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After the war, Japanese Americans tried to

start over. They had lost their jobs, their prop- After the War
• Japanese Americans had lost _______
erty, and their pride. Some used the Japanese
(what?).
American Evacuation Claims Act of 1948 to
• _______ (what?) was used by some Japanese
get compensation for property they had lost.
Americans to claim payment for lost property.
But it was not until the late 1960s that cries for • _______ (what?) began in the late 1960s.
redress—compensation for all they had suf-
fered—began to emerge.
In 1976, Executive Order 9066 was offi-
cially ended by President Gerald Ford. Four
years later, President Jimmy Carter signed a
bill that created the Commission on Wartime 9066 Ended—Investigation Begun
Relocation and Internment of Civilians • _______ (who?) ended 9066 in _______
(CWRIC) to investigate the relocation of (when?).
• _______ (who?) authorized CWRIC _______
Japanese Americans. The CWRIC concluded
(to do what?).
that Executive Order 9066 was “not justified
• CWRIC recommended _______ (what?).
by military necessity” but was the result of
“race prejudice, war hysteria, and a failure of
political leadership.” In 1983, the commission
recommended to Congress that each surviving
Japanese American evacuee be given a payment
of twenty thousand dollars and an apology. C Repayment
A bill to authorize the payments was intro- • Bill introduced in House of Representatives in
duced in the House of Representatives in 1983 1983.
• supported by Japanese Americans
but met resistance. Intensive lobbying1 by
• Opponents argued that _______ (what?).
Japanese Americans was met by arguments that
the government had acted legally and appropri-
ately at the time.
1. lobbying (LAHB ee ihng): activity aimed at influencing
public officials.

C Read and Discuss What did the commission recognize about

Executive Order 9066?
Vocabulary compensation (kahm puhn SAY shuhn) n.:
payment given to make up for a loss or injury.

Wartime Mistakes, Peacetime Apologies 69

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Connecting to the Text

If you were taking notes
about this image, how
would you describe what
the people pictured here
with President Reagan felt
about the passing of the
Civil Liberties Act? How do
you know?

A monetary sum and words alone cannot restore lost years

or erase painful memories; neither can they fully convey our
Nation’s resolve to rectify injustice and to uphold the rights of
individuals. We can never fully right the wrongs of the past.
But we can take a clear stand for justice and recognize that
serious injustices were done to Japanese Americans during
World War II.
—President George H. W. Bush,
excerpt from letter accompanying
redress checks,1990

Vocabulary rectify (REHK tuh fy) v.: correct.

70 Chapter 1
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Meanwhile, three men who had long since

Court Ruling
served their jail sentences for refusing to comply
• _______ (who?) took the government to
with curfew2 or relocation orders filed suit3 to
court.
challenge the government’s actions. The court
• The court decided ______ (what?).
ruled that the government had had no legal • This ruling helped build support for _____
basis for detaining Japanese Americans. (what?).
The rulings increased pressure to pro-
vide redress. In 1988, Congress approved
the final version of the redress bill, which
became known as the Civil Liberties Act. It
was signed by President Ronald Reagan on
August 10, 1988. Two years later, Congress Add to Repayment card:
• Congress approved repayment bill in 1988.
funded the payments. D
• called Civil Liberties Act
In 1990, at the age of ninety-three, Yoshiko
• signed by ______ (whom?) _______ (when?)
Imamoto opened her door not to FBI agents,
• Payments were sent _______ (when?).
but to a small brown envelope containing a
check for twenty thousand dollars and an
apology from President George Bush. It had
taken almost fifty years and the actions of four
presidents, but the government had made
redress and apologized for its mistakes. E
Add to Yoshiko Imamoto card:
2. curfew (KUR fyoo): Shortly before the relocation • in 1990, received _______ (what?)
began, the head of the Western Defense Command, Lt.
Gen. John DeWitt, set a curfew. Between 8:00 p.m. and
• She was 93 years old.
6:00 a.m. each day, “all persons of Japanese ancestry” • It had taken_______ (how long?).
had to remain indoors and off the streets. • It had taken the work of four presidents.
3. filed suit: went to court in an attempt to recover
something.

Read with a Purpose

How did the U.S. government recognize the injustices that
Japanese Americans endured during World War II?

D Informational Focus Taking Notes Why should you

add information to the Repayment card?
E Read and Discuss How does the information in this paragraph
connect to the beginning of the selection? How does Yoshiko’s story
come full circle?

Wartime Mistakes, Peacetime Apologies 71

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Reading Standard 2.4 Clarify an
understanding of texts by creating
outlines, logical notes, summaries, or reports.

Wartime Mistakes, Peacetime Apologies

Standards Review
Informational Text and Vocabulary 5. When people are granted discretion, they
have
1. From your note taking, you can conclude
that Yoshiko Imamoto came to the United A the power to imprison someone.
States when she was B the authority to make decisions.
A a young woman. C the freedom to leave a country.
B a mother with a young child. D the right to a fair trial.
C a baby.
D a child. 6. Compensation is usually
A illegal.
2. Which sentence best summarizes, or cap- B misunderstood.
tures the main ideas of, Executive Order 9066? C financial.
A Military commanders must follow instruc- D unwanted.
tions given by the secretary of war.
B When an area is put under military control, 7. Which of the following words is most similar
all civilians in that area must be evacuated. in meaning to rectify?
C The military may set aside areas and decide A destroy
who enters, stays in, or leaves those areas. B examine
D Japanese Americans must leave California. C finish
D fix
3. Discussion of a redress bill caused conflict
between
A Japanese Americans and people who felt Writing Skills Focus
that the government had acted legally. Use your notes to answer the
B Japanese American members of Congress following questions: What was the Commission on
and other elected officials. Wartime Relocation and Internment of Civilians?
C people who had been evacuated and those What did its investigation achieve?
who were veterans of World War II.
D Congress and the Supreme Court.
What kinds of reactions might
the survivors of internment have
4. Which of the following answers is something
or someone that you can prescribe?
had to the government’s apology
A Japanese Americans
and repayment?
B a new rule
C 1990
D the police

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Reading Standard 2.4 Clarify an
MAGAZINE ARTICLE understanding of texts by creating
outlines, logical notes, summaries, or reports.

What a Character: Iwao Takamoto and His Toons

Informational Text Focus

Vocabulary
Outlining An outline is a good way to organize and better under-
apprentice (uh PREHN tihs) n.:
stand your notes about factual writing. Remember that when you take
beginner; someone who is just
notes, you determine and record the main ideas and the details that
starting to learn a craft or job.
support them. Once you’ve taken your notes, you can organize the main Takamoto was an apprentice to
ideas in an outline like this one for the beginning of “What a Character”: Disney’s animators.
I. Takamoto’s Internment (First Main Idea) instrumental (ihn struh MEHN
A. Takamoto and his family sent to Manzanar Internment tuhl) adj.: helping to make some-
Camp (Detail supporting point I) thing happen. Takamoto was
instrumental in Hanna-Barbera’s
1. After the bombing of Pearl Harbor, Japanese
success.
Americans were sent to internment camps
(Detail supporting point A) legacy (LEHG uh see) n.: something
handed down or left for others.
Takamoto’s legacy for cartoon
Summarizing A summary is a brief restatement of the main ideas fans includes many memorable
in a text. Creating summaries of informational materials will help you characters.
grasp the meaning of a text. Summaries are especially useful if you are
doing research from a number of sources because they will help you
recognize ways in which one source differs from another. Follow these
tips when you are summarizing:
• A summary is much shorter than the original text and includes only Puns A pun (or play on words)
often suggests multiple meanings
the most important points. In nonfiction, these are the main ideas
of a word. For example, the title of
and key supporting details.
this article contains a pun. “What a
• Stop at the end of each paragraph to restate in a sentence what the Character” refers both to the subject
author wrote. This will help you find main ideas and details. of the article, Iwao Takamoto (a
• If you have already completed an outline, look at the first two levels character is a memorable, unique,
of information (I, II, . . . and A, B, . . .). These are the main ideas and or funny person), and to his cartoon
important details you’ll probably want to include in your summary. characters.
Identify and explain the pun in the
following quotation about Takamoto:
Writing Skills Focus “His admirers are still drawing les-
Writers of informational materials sons from his spirited ways.”
use headings that suggest main ideas and organize their writing.
As you read “What a Character,” pay attention to how it is organized.
Learn It Online
Reader/Writer Do pictures and animation help you learn? Try the
Notebook PowerNotes lesson on:
Use your RWN to complete the activities for this selection. [Link] H6-73 Go

Preparing to Read 73
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MAGAZINE ARTICLE

What a Character: Play Audio

Iwao Takamoto and His Toons
by

Takamoto’s creations,
Photo: Moses Sparks
Muttley (left and center)
and Scooby-Doo

Read with a Purpose

Read this article to discover how a former Japanese American internee
overcame hardship to achieve great success in his field.

nimated cartoons—or toons, as many

A call them today—aren’t just for chil-

dren any more. Books, magazines, and
Web sites are devoted to cartoon trivia, and
A Journey Begins in Manzanar
You’d never think that a Japanese intern-
ment camp near Los Angeles in the early
1940s and a cartoon canine by the name of
famous cartoon characters are everywhere
Scooby-Doo could possibly have any con-
in popular culture: on T-shirts, lunch boxes,
nection to each other, but they do. The con-
toys, bedsheets, pajamas, fast foods, and
nection is animator Iwao Takamoto. His
practically any other kind of product you
name may not be a household word, but
can name. Most of us know certain cartoon
many of his creations are. Takamoto’s jour-
characters, but what do we know about the
ney from an internment camp to the world
real people behind the toons—the writers,
of animation makes for a unique story of
producers, directors, and, perhaps most
creative success. A
importantly, the artists who bring these
Takamoto, a Japanese American, was
beloved characters to life? Here’s the story
born in Los Angeles in 1925. By age 15,
of one of those artists, a name from the
he had graduated ahead of his high school
cartoon world everyone should know:
class. His promising future was put on hold
Iwao Takamoto, the animator.
when the Japanese bombed Pearl Harbor

A Read and Discuss What is the author’s purpose here?

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in 1941. He and his family were forced into draw “from knights to cowboys.” He got
Manzanar Internment Camp, in the desert a job at Disney Studios on the spot. He
outside Los Angeles. became an apprentice, training under
Japan had been declared an enemy of famous animators of the day during a
war by the United States. Thousands of Golden Age of animation.
Japanese and Japanese Americans were At Disney, Takamoto had the chance
shuttled into camps, supposedly for their to work on cartoon shorts and longer
and the country’s protection. But out of bad films. In the 1950s, he worked on popu-
situations, good sometimes comes, and this lar Disney animated films
was true for Takamoto. While in Manzanar, such as Cinderella,
the teenage Takamoto met some former Peter Pan, Lady and Takamoto
Hollywood art directors who were interned the Tramp, and at Disney
with him. The men saw his sketches of Sleeping Beauty.
scenes in the camp and encouraged him He learned his
to draw. They gave him valuable informal craft at Disney but
training in illustration. eventually realized
that he could go
An Animated Life B no further there. In
In order to escape the camp, Takamoto 1961, he took what he
agreed to become a laborer, picking fruit learned to Hanna-Barbera
in Idaho. But it was his drawing talent Studios, a company that was energizing TV
that freed him in the end. Just two months cartoons with such creations as Huckleberry
before the end of World War II, Takamoto Hound, Top Cat, The Yogi Bear Show, and
contacted Disney Studios and landed an The Flintstones.
interview. He was not even fully aware of For the next 40 years, Takamoto
what Disney was or how large it was. Asked designed for Hanna-Barbera, taking a hand
to bring his portfolio, he went to a corner in virtually everything, even licensed prod-
store and bought sketchpads and pencils. ucts and theme park rides. He brought such
He had no portfolio of work to show; he characters as Secret Squirrel and Atom Ant
had been doing farm labor. to life. Later, he was instrumental in launch-
Over a weekend he filled two sketch- ing Josie and the Pussy Cats and other suc-
pads with images, everything he liked to cessful cartoons. C

B Informational Focus Outlining What features of Vocabulary apprentice (uh PREHN tihs) n.: beginner;
this article hint at its main ideas? How can they help you create an someone who is just starting to learn a craft or job.
outline? instrumental (ihn struh MEHN tuhl) adj.: helping to make some-
thing happen.
C Informational Focus Summarizing Summarize this
short paragraph in one sentence.

What a Character: Iwao Takamoto and His Toons 75

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Crazy Canine Characters Creative Recognition

Takamoto’s legacy includes characters of all For Scooby-Doo and other beloved and
kinds. But his four-legged creations are his distinctive creations, Takamoto won the
most memorable. There is Astro, the family Windsor McKay Lifetime Achievement
dog on The Jetsons; the perpetually wheez- Award by the International Animated
ing pooch Muttley of The Wacky Races; and Film Association in 1996. The Japan-
the unforgettable Scooby-Doo of Scooby- ese American National Museum
Doo, Where Are You? a big dog who solves honored him in 2001, and the Ani-
mysteries despite being afraid of practically mation Guild gave him their Golden
everything. Award in 2005. E
By design, the animator made Scooby’s Takamoto died in 2007 at age 81, but
appearance all wrong. Takamoto called his admirers are still drawing lessons
Scooby-Doo a Great Dane, but most of from his spirited ways. Imprisonment in
the details of the cartoon dog’s appearance a Japanese internment camp seemed to
were in fact the opposite of that breed’s place his future in doubt, but it ended up
characteristics. “There was a lady that bred putting him on the road to a lasting suc-
Great Danes,” he said. “She showed me cess. He went from a world of grim real-
some pictures and talked about the impor- ity to a world of fantasy and imagination
tant points of a Great Dane, like a straight in a few short years. His death was a con-
back, straight legs, small chin and such. I tradiction, too. He died of heart failure,
decided to go the opposite and give him a but those who knew him say that, above
hump back, bowed legs, big chin and such. all, he was full of heart. And that heart
Even his color was wrong.” lives on in his beloved creations. F
Takamoto had an inventive sense of
1. refrain (rih FRAYN): phrase or verse repeated dur-
humor. Even nonsense inspired him. The ing a song.
name Scooby-Doo, for instance, came from
a playful refrain1 in the Frank Sinatra song
“Strangers in the Night.” Sinatra sings the Read with a Purpose
phrase “scooby-dooby-do” as if it means What did you find most surprising or inspiring about the
story of Iwao Takamoto?
something. D

D Read and Discuss How did Takamoto approach the cre- F Read and Discuss How do the author’s words “[the]
ation of cartoons, including Scooby-Doo? Japanese internment camp seemed to place his future in doubt,
E Informational Focus Outlining What main idea in but it ended up putting him on the road to a lasting success” sum
this paragraph would you include as a main point in your outline? up Takamoto’s life as it is presented here?
Vocabulary legacy (LEHG uh see) n.: something handed
down or left for others.

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Reading Standard 2.4 Clarify an
understanding of texts by creating
outlines, logical notes, summaries, or reports.

What a Character: Iwao Takamoto and His Toons

Standards Review
Informational Text 4. Which of the following words is most similar
and Vocabulary in meaning to instrumental?
A brave
1. The writer most likely lists characters
Takamoto created because B useless
A they show that cartoons are C incorrect
underappreciated. D important
B they explain the process of animation.
C they demonstrate Takamoto’s importance. 5. A legacy is always something that is
D they reveal facts about Takamoto’s life in an A handed down to others.
internment camp. B animated.
C kept for oneself.
2. Suppose that an outline of this article lists D thrown away.
these main ideas:
I. Takamoto’s internment 6. An apprentice is
II. Takamoto’s animation career A the head of a company.
III. B a type of animator.
IV. Recognition of Takamoto’s achievements C a prisoner.
D a beginner.
Which main idea belongs in the blank space
at number III?
A Takamoto and Frank Sinatra Writing Skills Focus
B Takamoto’s picking fruit in Idaho Write a summary of “What a
Character.” If you’ve completed an outline, use it to
C Takamoto’s canine characters
determine the major points you want to include in
D Takamoto’s sketches of cowboys the summary and the order in which you should
present them.
3. Suppose that an outline of this article
includes the main heading “Takamoto’s ani-
mation career.” Which of these details does According to this article,
not support that main idea? Takamoto was “freed” by his
A Takamoto landed an interview with Disney. talent. What does his success say
B At Disney, Takamoto worked on cartoon about overcoming injustice?
shorts and popular animated films.
C Takamoto graduated early from high
school.
D Takamoto worked at Hanna-Barbera for
forty years.

Applying Your Skills 77

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Fictional Narrative
Write with Think as a Reader/Writer Reading the short stories, or fic-
a Purpose tional narratives, in this chapter introduced you to the techniques some
Use your imagination to come writers use. Before you write your own fictional narrative, read this excerpt
up with a great idea for a fic- from the short story “The Bracelet” (page 41) by Yoshiko Uchida. Notice
tional narrative. Your purpose how the author introduces the main character and reveals the conflict.
is to entertain your readers. Your
audience can be your friends, “Mama, is it time to go?” I hadn’t planned to cry, but The author
your classmates, or a larger group the tears came suddenly, and I wiped them away with the establishes right
of people. back of my hand. I didn’t want my older sister to see me away that the
crying. narrator, Ruri, is
“It’s almost time, Ruri,” my mother said gently. Her facing a difficult
face was filled with a kind of sadness I had never seen conflict.
before.
A Good Fictional I looked around at my empty room. The clothes that Specific details
Narrative Mama always told me to hang up in the closet, the junk describe the
• centers on a conflict, or prob- piled on my dresser, the old rag doll I could never bear setting.
lem that a character has to to part with—they were all gone. There was nothing left
solve in my room, and there was nothing left in the rest of the
• includes a series of related house. The rugs and furniture were gone, the pictures and
events in climactic order that drapes were down, and the closets and cupboards were
keeps readers in suspense empty. The house was like a gift box after the nice thing
• provides a detailed setting inside was gone; just a lot of nothingness.
• presents an appropriate point It was almost time to leave our home, but we weren’t Additional details
of view moving to a nicer house or to a new town. It was April further define
• uses dialogue and action to 21, 1942. The United States and Japan were at war, and the setting and
develop the plot every Japanese person on the West Coast was being describe an
• includes sensory details and evacuated by the government to a concentration camp. external conflict,
concrete language Mama, my sister Keiko, and I were being sent from war between the
• ends with a resolution of the our home, and out of Berkeley, and eventually out of United States and
conflict Japan.
California.

Think About the Professional Model

Reader/Writer With a partner, discuss the following questions about the model:

Notebook 1. How is Ruri’s conflict linked to the external conflict of war?

2. How do details about the setting help you understand Ruri’s feelings?
Use your RWN to complete the
activities for this workshop.

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Writing Standard 1.3 Use a variety of develop a plot and setting and present a point of
effective and coherent organizational view that is appropriate to the stories. b. Include
patterns, including comparison and contrast; sensory details and concrete language to develop
organization by categories; and arrangement by plot and character. c. Use a range of narrative devices
spatial order, order of importance, or climactic (e.g., dialogue, suspense).
order. 2.1 Write narratives: a. Establish and

Prewriting Idea Starters

• a personal experience
Choose a Story Idea • a news story that would make a
When you write a fictional narrative, you can draw on your own experi- good fictional narrative
ence, or you can let your imagination run wild. Ideas for short stories • an interesting person who
often begin with the question “What if?”: What if your best friend won could be a model for your main
millions of dollars? What if your teacher could read people’s minds? Think character
about whether your story will center on characters, setting, or conflict. • a particular problem that
The Idea Starters in the margin might help you choose an idea for your the characters would have to
story. overcome
• a “what if” situation
Identify Characters and Conflict
Once you have a basic story idea, define your characters and the prob-
lem, or conflict, they will face. What kinds of characters appeal to you?
(Think of favorite characters from books, TV, and movies.) Perhaps you
want to base your main character on an actual historical figure. Be sure
to make your characters and conflict realistic so that readers will believe
your character would face the kind of conflict you’ve described in your
story.

Plan Your Setting

In some stories the setting—where and when the action takes place—
plays as big a role as the characters. The setting provides the background
for your fictional narrative, but setting can also help create the problem,
or conflict. The chart below shows one writer’s plan for a story’s setting.
Create your own chart to brainstorm details about your story’s setting. Your Turn
Get Started Take notes in your
Setting Details RWN about your story idea and
Place: Where does the The story takes place in a small village near conflict. Then, write answers to
story take place? the Arctic Circle. these questions about your main
character:
Time: When does it take The story takes place in modern times, and
place, and how much one week passes during the story. • How does the character act?
time passes during the • How does the character look?
story? • What does the character think?
How does the setting A scientist studying climate change is
• What does the character say?
influence the conflict stranded when the ice pack he is on unex- • How do other characters react
and characters? pectedly breaks apart and drifts away from to the main character?
land.
Learn It Online
Try using an interactive graphic organizer at:

[Link] H6-79 Go

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Fictional Narrative

Think About Purpose and Audience

The purpose in writing a fictional narrative is usually to entertain. That
doesn’t mean the story has to be funny. It can be scary, thrilling, mysteri-
ous, tragic, or hilarious. Whichever direction your story takes, you want to
keep your reader wondering what will happen next.
Who are your readers? Think about the audience you want to reach.
Are they people you know? If so, what kind of plot would interest them?
What types of characters would they relate to? What background infor-
mation would you need to provide? If you want to reach a larger audi-
ence, people you don’t know, what general assumptions can you make?
What do most people find interesting? Try to imagine the people you are
writing for, and keep them in mind as you draft your fictional narrative.

Writer’s Tip Develop the Plot

Thinking about the problem, or Your story’s plot—the things that happen in the story—should have four
conflict, in a story can help you main elements: the conflict; the complications that arise as characters
develop your ideas. Will your deal with the conflict; the climax, or point of highest drama; and the res-
story have an internal or external olution, which shows how the conflict is resolved. You can visualize these
conflict to move the action of the four elements in a diagram that shows the typical “shape” of a story.
plot?
External Conflict: A character Climax
struggles with outside forces, such
as another character or something Complications unfold
in the environment. as suspense builds Resolution
Internal Conflict: A character
struggles with something inside
herself, such as insecurity, pride, or Characters and
the desire to achieve a goal. conflict introduced

Your Turn
Plan Your Plot As you plan your fictional narrative, place events in cli-
mactic order, a dramatic arrangement of events in which the climax
delivers the biggest emotional punch. Climactic order usually means that
the events occur in time order. This type of organizational pattern will
give your story coherence. That is, the events will be connected in a way
that makes sense. Climactic order can also help you create suspense, or
the anxious curiosity readers feel about what will happen next in a story.
Make sure your climax isn’t predictable. Instead, try to keep your readers
guessing, but be sure to develop the plot in a believable way.

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Drafting Writer’s Tip

To choose the point of view that is
Present a Point of View
most appropriate for your
All fictional narratives have a narrator, someone who tells the story. If
fictional narrative, think about
the story is told by a character involved in the events, it is told from a
your purpose. If you want to draw
first-person point of view. The narrator refers to himself or herself with
your reader into the heart and
first-person pronouns (I, me, my, mine), and readers know only what that
mind of a particular character who
character sees, hears, and thinks. When the narrator is someone outside
faces a problem, you’ll probably
the story, the story is told from a third-person point of view and uses
want to use the first-person point
third-person pronouns (he, she, they, them). With this point of view, read-
of view. If you want to explore the
ers might be told the thoughts and feelings of all the characters, or read-
thoughts and feelings of several
ers may be limited to seeing the story from only one character’s point of
characters as they interact, you
view. Present a point of view that is appropriate for your story.
will want to use the third-person
point of view. Whichever point
Use Dialogue, Sensory Details, and Concrete Language
of view you choose, use it consis-
Dialogue, what the characters say to each other, tells readers what the
tently throughout your story.
characters are like. Dialogue can also be used as a narrative device to
describe plot events, help create suspense or tension, describe setting,
or explain the story’s resolution. Look back at the excerpt from “The
Bracelet,” and notice the power of dialogue in the very first line of the
story: “Mama, is it time to go?” Uchida uses that bit of dialogue to connect
the reader to the story’s plot, setting, and conflict.
Include sensory details and concrete language in your fictional narra-
tive to develop your plot and characters. Sensory details describe what
you can see, hear, taste, feel, and smell. Concrete language consists of
words and phrases that are precise and specific. Use such details and
language to show, not tell, your readers what is happening and to make
characters and events vivid in the minds of your readers.

Grammar Link Punctuating Dialogue

Note how these rules for punctuating dialogue are used in the examples from “The Bracelet.”
• Put quotation marks before and after a speaker’s exact words, and place punctuation marks
such as commas, question marks, and periods inside the closing quotation mark. Your Turn
Write Your Draft Use the notes
“Mama, is it time to go?” you made about your story’s plot
• Use a speaker tag, such as she said, to identify who is speaking. If a speaker tag comes before and setting to write a draft of
a quotation, put a comma after the tag; if a speaker tag comes in the middle of a quotation, your story. Also think about the
put commas before and after the tag; and if a speaker tag comes at the end of a sentence, put following:
a comma or other appropriate punctuation at the end of the quotation (inside the quotation • Which point of view will
mark), and put a period at the end of the speaker tag. you use?

“It’s almost time, Ruri,” my mother said gently.

• How will you use dialogue to
move the story along?

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Fictional Narrative

Peer Review Evaluating and Revising

Work with a peer to review each
other’s drafts. Answer each ques- Now that you’ve written your draft, you can go back and make improve-
tion in this chart to decide where ments by answering the questions below. The tips in the middle column
and how your fictional narratives will help you evaluate your short story. The right column suggests tech-
can be improved. As you discuss niques you can use to revise your draft.
your stories, be sure to take notes
about each other’s suggestions.
Fictional Narrative: Guidelines for Content and Organization
You can refer to your notes as you Evaluation Question Tip Revision Technique
revise your drafts. 1. Have you established a Put a check mark next to Add details about time and
vivid setting? details about the setting. place, if needed.

2. Do the characters seem Highlight character details, Elaborate as needed by add-

real? description, and dialogue. ing sensory details, concrete
language, and dialogue.

3. Is the problem, or con- Underline the conflict. If necessary, add sentences

flict, of the story clear? that describe the problem the
characters face.

4. Are events arranged Number each event. Check Reorganize events if neces-
in climactic order and that events are in the correct sary. Add details to tie events
clearly connected? Does order. Bracket words or together and to heighten
the plot keep readers in sentences that help create suspense. Cut or rearrange
suspense? suspense. details that reveal plot devel-
opments too soon.

5. Is the point of view Circle pronouns that estab- Cut pronouns or details that
appropriate, clear, and lish the point of view in the shift the point of view.
consistent? opening paragraphs.

6. Is the conflict resolved? Draw a star next to the Add a climax, or high point,
Does the story’s resolu- story’s climax and resolution. if necessary. Add details
tion make sense? to show how the conflict is
resolved.

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Read this student’s draft and the comments about it as a model for revising
your own fictional narrative.
Student Draft

Apples in the Snow The opening sentence

by Jane Caflisch, Kensington Intermediate introduces the main
character and hints at the
Little Bear longed to become the sacred medicine man of the tribe. conflict he faces.
The elders thought it unwise for him to become the medicine man. The second paragraph
They said that he was too wild and young. But Little Bear persisted. establishes the conflict
Finally, the elders said, “Go out into the hills. If you can find apples in the between Little Bear and
the elders and the setting’s
snow, it will be a sign that the Great Spirit wills you to become our medi-
influence on the problem.
cine man.” Dialogue is used to reveal the
Little Bear fasted all day. Then he set out into the hills. He climbed elders’ test for Little Bear.
and searched to no avail for that day and the next. He stopped often to The third paragraph outlines
pray to Mon-o-La, the earth, and to the Great Spirit. a series of events set in
motion by the elders’ test for
Little Bear.
How to Use Dialogue as a Narrative Device
Jane’s first paragraph lacks vital information. She decides to develop a
dialogue between Little Bear and his father to tell us more about these
characters and their relationship. Dialogue is an excellent device for add-
ing information about characters and for advancing the action of the
plot.

Jane’s Draft
Little Bear longed to become the sacred medicine man of the tribe.
Jane’s Revision of Paragraph One
Little Bear longed to become the sacred medicine man of the tribe.
“Father, I have passed all tests for a young warrior in the Cherokee nation,”
Little Bear said humbly. “But I seek more challenge—more responsibility. I
want to be our tribe’s sacred medicine man.”
“Little Bear,” his father replied, “you have my permission to address the Your Turn
elders. Since you are only fourteen, they will surely reject your petition.” Use Dialogue Read your draft
and think about the following:
• Have you developed your char-
acters and plot thoroughly?
• Are there places where you can
add dialogue to help develop
characters and move the plot
forward?

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Fictional Narrative

Student Draft continues

A setting within the main Then, on the third night, Little Bear had a dream. He dreamed that
character’s dream is described. he was standing by a golden apple tree. Around it the snow had melted.
Then from inside the tree came a musical voice. “Come pick my apples. I
grow them for you, for you, for you. . . .” Little Bear awoke. He tried to think
of what the dream meant. While he thought, he walked up the hill.
The story reaches a climax as Thinking and walking, he soon reached the top. There he began to
the main character achieves his pray. When he opened his eyes, there was the golden apple tree of his
goal. dream. He waited for the voice to come, but when it did not, he decided
that it had spoken in his dream and that was enough. So he picked the
apples and started down the mountain, thanking the goodness of the
spirits. When he turned to look at the tree, it was gone.
The conflict is resolved. When he reached his village, there was great feasting. The elders told
him that the golden tree was the tree of Mon-o-La. So Little Bear became
Snow Child and assumed the role of the tribe’s sacred medicine man.

How to Create an Effective Conclusion

In Jane’s draft the feasting occurs before the elders accept Little Bear
as the tribe’s medicine man. Jane decides to revise her conclusion to
improve the organization of the ideas within the paragraph and to give
her story a more powerful ending. Rearranging the order of events and
giving more details about the elders’ decision will leave readers with a
lasting image.

Jane’s Draft
When he reached his village, there was great feasting. The elders told
him that the golden tree was the tree of Mon-o-La. So Little Bear became
Snow Child and assumed the role of the tribe’s sacred medicine man.
Jane’s Revision of the Last Paragraph
When Little Bear reached the village, he humbly presented the golden
apple to the elders. Smiling broadly, the chief elder raised the apple high
Your Turn above his head and proclaimed Little Bear the tribe’s sacred medicine man:
Add Drama to Your “You are now Snow Child.” The entire village feasted in honor of Snow Child,
Conclusion With a partner, their new sacred medicine man.
review your conclusion. Does it
wrap up the action of the story in
a dramatic way? What could you
add to your conclusion to make
your story more powerful?

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Proofreading and Publishing Proofreading Tip

There are three main areas to
Proofreading
focus on when proofreading: spell-
After you revise your fictional narrative, you should make sure your final
ing, punctuation, and sentence
version is free of any errors in spelling, punctuation, and sentence struc-
structure. It makes sense to focus
ture. Proofread, or edit, your writing carefully, using proofreading marks
on just one area at a time while
to make the necessary corrections.
proofreading. Ask two peers to
help you, assigning each person
Grammar Link Using Participial Phrases just one area to check.
Participial phrases provide action and movement in writing. Because a participle is a verb form
that is being used as an adjective to describe something, it is an excellent way to add variety to
your sentences. When used at the beginning of a sentence, a participle or series of participles is
separated from the main clause by a comma.
Jane uses several participles in her story, but she forgot to separate the one below with a comma.
She found the error in her proofreading.

Jane’s Draft: Thinking and walking he soon reached the top.

Jane’s Revision: Thinking and walking[,] he soon reached the top.
Jane also used a participle phrase at the end of a sentence, but she remembered to use a comma
there.

So he picked the apples and started down the mountain[,] thanking the
goodness of the spirit.

Publishing
Think of creative ways to share your story. Consider the following:
• Present it to your class as a dramatic presentation.
• Turn it into a graphic novel, with illustrations and speech balloons for
dialogue.

Reflect on the Process Thinking about how you wrote your fic- Your Turn
tional narrative will help you create other forms of writing. In your RWN,
Use Pronouns Clearly As you
write a short response to the following questions:
proofread your fictional narrative,
1. What was the most challenging aspect of coming up with a story idea? make sure all of your pronouns
Explain. have clear antecedents. Ask your-
2. What techniques helped you plan your plot? What might you do differ- self, “Could this pronoun refer to
ently next time? more than one character?” Revise
3. How did you use dialogue to advance the plot? to describe the set- any unclear references you find.
ting? to develop characters?
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Fictional Narrative

Scoring Rubric
You can use the rubric below to evaluate your fictional narrative.

Fictional Narrative Organization and Focus Sentence Structure Conventions

• Provides a thoroughly developed • Clearly addresses all of the writing task. • Includes sentence variety (e.g. • Contains few, if any, errors
4 plot line (with: 1) beginning con- • Demonstrates a clear understanding of simple, complex, in the conventions of the
flict, 2) rising action, 3) climax, purpose and audience. compound-complex). English language (gram-
4) resolution, 5) point of view), • Maintains a consistent point of view and mar, punctuation, capital-
characters, and a definite setting. smooth transitions. ization, spelling). These
• Includes appropriate strategies • Includes a clearly presented central idea errors do not interfere
(e.g., dialogue and suspense). with relevant details. with the reader’s under-
standing of the writing.

• Provides an adequately developed • Addresses most of the writing task. • Includes some sentence variety • Contains some errors in
3 plot line (with: 1) beginning con- • Demonstrates a general understanding (e.g. simple, complex, the conventions of the
flict ,2) rising action, 3) climax, of purpose and audience. compound-complex). English language (gram-
4) resolution, 5) point of view), • Maintains a mostly consistent point of mar, punctuation, capital-
characters, and a definite setting. view and relatively smooth transitions. ization, spelling). These
• Includes appropriate strategies • Presents a central idea with relevant errors do not interfere
(e.g., dialogue and suspense). details. with the reader’s under-
standing of the writing.

• Provides a minimally developed • Addresses some of the writing task. • Includes little sentence variety. • Contains several errors in
2 plot line, characters, and a set- • Demonstrates little understanding of the conventions of the
ting. purpose and audience. English language (gram-
• Attempts to use strategies but • Maintains an inconsistent point of view mar, punctuation, capital-
with minimal effectiveness (e.g., and awkward transitions that do not ization, spelling). These
dialogue and suspense). unify important ideas. errors may interfere with
• Suggests a central idea with limited the reader’s understand-
details. ing of the writing.

• Lacks a developed plot line. • Addresses only one part of the writing • Includes no sentence variety. • Contains serious errors in
1 • Fails to use strategies (e.g., dia- task. the conventions of the
logue and suspense). • Demonstrates no understanding of pur- English language (gram-
pose and audience. mar, punctuation, capital-
• Lacks a point of view and transitions that ization, spelling). These
unify important ideas. errors interfere with the
• Lacks a central idea but may contain reader’s understanding of
marginally related details. the writing.

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Writing Standard 2.1 Write nar-

Fictional Narrative ratives: a. Establish and develop a

plot and setting and present a point of view
that is appropriate to the stories. b. Include
sensory details and concrete language to
When responding to an on-demand fictional narrative prompt, use the develop plot and character. c. Use a range of
models you have read, what you’ve learned from writing your own short narrative devices (e.g., dialogue, suspense).
story, the rubric on page 86, and the steps below.

Respond to the Prompt

Writing Prompt Using the notes you just made, draft your fic-
Imagine a boy or girl your age who wants to play a tional narrative. Follow these guidelines:
team sport but whose parents are against it. Write
an entertaining short story for your classmates
• In the opening of your story, grab your read-
ers’ attention by creating suspense or show-
about the events that occur as the boy or girl tries
ing your characters in action.
to overcome this conflict. Establish a vivid setting,
and use sensory details, concrete language, and • Use sensory details and concrete language
dialogue to develop a believable plot and to develop your plot, characters, and setting.
characters. Remember to use realistic dialogue.
• Tell how the conflict was resolved and how
the characters were changed or affected by
Study the Prompt the conflict.
Begin by reading the prompt carefully. Circle any As you write, remember to use words that are
specific information in the prompt that you’ll need appropriate for your characters and the story—
to include in your response. Your main character not too formal. Write as neatly as you can. If your
is a boy or girl your age. The conflict is provided short story can’t be read easily, it won’t be scored.
for you: The main character’s parents don’t want Tip: Spend about twenty minutes writing your draft.
him or her to play a team sport. Your purpose is to
entertain, and your audience is your classmates. Improve Your Response
The prompt also instructs you to develop charac- Revising Go back over the key aspects of
ters and setting with details and dialogue. the prompt. Did you explain the conflict? Did
Tip: Spend about five minutes studying the prompt. you describe the setting? Are your characters and
conclusion believable?
Plan Your Response
Here are some quick tips to help you plan your Proofreading Take a few minutes to proofread
response: your story to correct errors in grammar, spelling,
• Write down who your main character will be. punctuation, and capitalization. Make sure all
your edits are neat, and erase any stray marks.
• Write down the conflict, main events, climax,
and resolution. Checking Your Final Copy Before you turn your
• Write down where and when the story takes story in, read it one more time to catch any errors
place. How might this setting influence the you may have missed. You’ll be glad that you took
plot? the extra time for one final review.
• Decide whether you’ll use a first-person nar- Tip: Save ten minutes to improve your paper.
rative or a third-person narrative.
Tip: Spend about ten minutes planning your response.
Preparing for Timed Writing 87
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Delivering a Narrative Presentation

Think as a Reader/Writer Whether you are writing a short
Speak with story or delivering a narrative presentation, you should develop a story
a Purpose around a clearly defined problem that is resolved at the end. To sustain
Deliver a narrative presenta- your audience’s interest in this problem, you can use a range of devices:
tion. Practice telling the story, sensory details and concrete language, dialogue, and suspense. When
and then present it to your you present a story orally, you can also use your voice, face, and move-
class. ments to hold your audience’s attention and convey your points.

Plan Your Presentation

Match the Story to the Audience
To choose a story to tell, first consider your audience, purpose, and
occasion. Ask yourself: Who will listen to my narrative? What effect do I
want to have on my audience? When and where will I present my narrative?
Answering these questions will help you choose the right message and
an appropriate story. Write down the plot events in a time line. The orga-
nizational structure of most stories will be time order. However, your
audience, purpose, and occasion may determine how you arrange events.

Establish a Context and a Point of View

An introduction will help prepare listeners to understand your oral nar-
rative. In your introduction, establish the context of the narrative, telling
listeners any important information about the setting. Then, identify the
point of view from which you will tell the story. For example, one of the
characters may tell the story, or a narrator who is outside of the story may
tell what happens.

Develop Plot and Character

Use sensory details and concrete language to develop your plot
and characters and bring them to life. Sensory details appeal to the
senses—describing sights, sounds, smells, tastes, or sensations. Concrete
language, or specific words, gives your audience an exact mental image
of what you are describing. Include dialogue, or what characters say to
each other, to move the plot forward and show what your characters are
Reader/Writer
like. As you develop your plot, remember to build suspense. Save some
Notebook important details to reveal right before the story’s climax, or high point,
Use your RWN to complete the or scatter hints throughout your story to sustain your audience’s interest.
activities for this workshop.

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Listening and Speaking Standard presentations: a. Establish a context, plot, and point
1.7 Use effective rate, volume, pitch, and of view. b. Include sensory details and concrete
tone and align nonverbal elements to sustain audi- language to develop the plot and character. c. Use a
ence interest and attention. 2.1 Deliver narrative range of narrative devices (e.g., dialogue, tension,
or suspense).

Deliver Your Short Story

Use Verbal Elements
Delivering an oral narrative means more than just talking. You can A Good Short Story
convey character by adjusting your voice to re-create the characters’ Presentation
speech and to communicate a different personality for each character. • has an appealing story line that
You can also convey the overall feeling of an oral communication, or its suits the audience, purpose, and
tone, through the sound of your voice as well as through your choice occasion
of words. Use these verbal elements, or techniques, to help you create • establishes a context, plot, and
character and sustain your audience’s interest and attention: point of view
• Rate refers to the speed at which you speak. Consider where you • presents a clear conflict and a
should slow down or speed up in your narrative to show emotions suspenseful plot
or to reflect the pace at which plot events occur.
• use sensory language, concrete
• Volume refers to how loudly or softly you speak. Change your vol- details, and dialogue to develop
ume to convey different characters or to express emotions. plot and character
• Pitch refers to the high or low sounds of your voice. Vary your pitch • sustains the audience’s interest
to suit your characters and to show emotions. through the use of effective verbal
and nonverbal elements
Use Nonverbal Elements
Nonverbal communication, or body language, helps you relate to your
audience and communicate your message when you speak. Make eye
contact with your audience to hold your listeners’ attention. Use facial
expressions and gestures to help you convey character and emotions
and to emphasize points. Make sure your nonverbal elements, or tech-
niques, are aligned with your verbal ones so that your body language Speaking Tip
matches your voice. That way, you will communicate your ideas effec- Using interesting verbal tech-
tively to your audience. niques does not mean you
should forget to enunciate
Rehearse and Present every word clearly. Always
To help you remember all of the elements of your oral narrative, add speak slowly, clearly, and loudly
delivery notes to your time line. Write down notes about your introduc- enough so that audience mem-
tion, the devices you will use to develop your plot and characters, and the bers in the back can hear and
verbal and nonverbal techniques you will include. Then, practice deliver- understand you.
ing your narrative. If possible, make a video or an audio recording of your
practice session, and carefully evaluate your presentation. If you don’t
have access to an audio recorder or a video camera, practice in front of a
mirror. When you’re ready, deliver your narrative to the class.

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STANDARDS REVIEW

Literary Skills Review

Setting and Plot Directions: Read the following story. Then,
answer each question that follows.

The Path Through the Cemetery

by Leonard Q. Ross

I
van was a timid little man—so timid and I’ll give you five rubles—five gold
that the villagers called him “Pigeon” rubles!”
or mocked him with the title “Ivan the Perhaps it was the vodka. Perhaps it
Terrible.” Every night Ivan stopped in at was the temptation of the five gold rubles.
the saloon which was on the edge of the No one ever knew why Ivan, moistening
village cemetery. Ivan never crossed the his lips, said suddenly: “Yes, Lieutenant, I’ll
cemetery to get to his lonely shack on the cross the cemetery!”
other side. That path would save many The saloon echoed with their disbelief.
minutes, but he had never taken it—not The lieutenant winked to the men and
even in the full light of noon. unbuckled his saber. “Here, Ivan. When
Late one winter’s night, when bitter you get to the center of the cemetery, in
wind and snow beat against the saloon, front of the biggest tomb, stick the saber
the customers took up the familiar into the ground. In the morning we
mockery. “Ivan’s mother was scared by a shall go there. And if the saber is in the
canary when she carried him.” “Ivan the ground—five gold rubles to you!”
Terrible—Ivan the Terribly Timid One.” Ivan took the saber. The men drank a
Ivan’s sickly protest only fed their toast: “To Ivan the Terrible!” They roared
taunts, and they jeered cruelly when the with laughter.
young Cossack lieutenant flung his horrid The wind howled around Ivan as he
challenge at their quarry. closed the door of the saloon behind him.
“You are a pigeon, Ivan. You’ll walk all The cold was knife-sharp. He buttoned his
around the cemetery in this cold—but you long coat and crossed the dirt road. He
dare not cross it.” could hear the lieutenant’s voice, louder
Ivan murmured, “The cemetery is than the rest, yelling after him, “Five
nothing to cross, Lieutenant. It is nothing rubles, pigeon! If you live!”
but earth, like all the other earth.” Ivan pushed the cemetery gate open.
The lieutenant cried, “A challenge, He walked fast. “Earth, just earth . . . like
then! Cross the cemetery tonight, Ivan, any other earth.” But the darkness was a

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Reading Standard 3.3 Analyze the
influence of setting on the problem and its
resolution.

massive dread. “Five gold rubles . . .” The ing and implacable hold. Ivan tugged and
wind was cruel and the saber was like ice lurched and pulled—gasping in his panic,
in his hands. Ivan shivered under the long, shaken by a monstrous fear. But something
thick coat and broke into a limping run. held Ivan. He cried out in terror, then
He recognized the large tomb. He must made senseless gurgling noises.
have sobbed—that was the sound that was They found Ivan, next morning, on the
drowned in the wind. And he knelt, cold ground in front of the tomb that was in
and terrified, and drove the saber through the center of the cemetery. He was frozen
the crust into the hard ground. With all to death. The look on his face was not that
his strength, he pushed it down to the of a frozen man, but of a man killed by
hilt. It was done. The cemetery . . . the some nameless horror. And the lieutenant’s
challenge . . . five gold rubles. saber was in the ground where Ivan had
Ivan started to rise from his knees. But pounded it—through the dragging folds of
he could not move. Something held him. his long coat.
Something gripped him in an unyield-

1. How does the setting help create the main 3. Which of the following elements of setting
problem in the selection? does not influence the selection?
A The dark of night prevents Ivan from see- A the dirt road
ing his way. B the weather
B The freezing weather makes Ivan want to C the time of year
get home quickly. D the cemetery path
C The saloon’s customers tease Ivan cruelly.
D The cemetery terrifies Ivan. 4. Which of the following places most influ-
ences the resolution of the main problem?
2. Which of the following weather-related A the cemetery gate
issues is most important to the resolution of B the saloon
the main problem?
C the large tomb
A Ivan must run through the cemetery.
D Ivan’s shack
B Ivan wears a long and heavy coat.
C The saber feels like ice in his hand.
Timed Writing
D The loud wind covers Ivan’s sobs.
5. How does the story’s setting influence the
problem and its resolution? Use details from
the story to support your answer.

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STANDARDS REVIEW

Informational Skills Review

Note Taking, Outlining, Summarizing Directions: Read the
following selection. Then, read and respond to the questions that follow.

Celebrating the Quinceañera by Mara Rockliff

Y
ou stand at the back of the church birthstone ring glitters on your finger, and
between your parents and godpar- a religious medal hangs from your neck,
ents, your knees shaking. You feel inscribed with your name and today’s
special, and a bit awkward, in your first date—special gifts from adult relatives or
formal dress and your tiara. Your honor friends of the family. The priest will bless
court has walked up the aisle ahead of you: your medal during the Mass.
fourteen girls in pastel dresses, fourteen Next comes a sermon, followed by
boys in tuxedos. With you and your escort prayers and readings from the Bible. You
there are fifteen couples—one for each year recite your speech, and the service ends.
of your life. The long months of planning Then the photographer rushes over, and
and preparation have finally ended. Your you pose for an endless series of photo-
quinceañera has begun. graphs with your family and friends.
The quinceañera (keen say ah NYEH But the quinceañera celebration has
ruh, from the Spanish words quince, “fif- just begun, for the fiesta is still to come.
teen,” and años, “years”) is a rite of pas- You enter to the sound of music, a tra-
sage celebrated by Mexicans and Mexican ditional mariachi band or a DJ playing
Americans. People believe that the tradi- current hits. You dance in turn with your
tion can be traced back to the Aztec cul- father, your grandfathers, your escort. You
ture, in which girls commonly married at and your honor court perform a group
the age of fifteen. Today a girl’s quincea- dance that you have rehearsed. Then
ñera marks her coming of age. It means everyone joins in the dancing.
she is ready to take on adult privileges and You’re almost too excited to eat, but the
responsibilities. food is wonderful. There’s your favorite—
The most important part of your chicken in mole sauce, made from chilies
quinceañera is the misa de acción de gra- and unsweetened chocolate. The tables are
cias, the thanksgiving Mass. You slowly covered with everything from tamales and
walk up the aisle to the front of the church. corn soup to an elaborately decorated cake.
You kneel, placing a bouquet of fifteen Later, as everyone watches, your father
roses on the altar to thank the Virgin Mary removes the flat shoes you have worn all
for bringing you to this important day. A day and replaces them with a pair of high

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Reading Standard 2.4 Clarify an under-
standing of texts by creating outlines, logical
notes, summaries, or reports.

heels. In your parents’ eyes you are no hood you’re leaving behind. If you have a
longer a child. They’ll treat you differently younger sister, you might present it to her.
from now on, and they’ll expect you to act You look around at the people who have
more like an adult as well. watched you grow up. You see tears in
Among your many gifts, one stands out: many eyes. The quinceañera is a tradition
the last doll. It’s not a toy for you to play many centuries old, but for you it will hap-
with, of course; it’s a symbol of the child- pen only once.

1. A report on this article would state that its 3. Which of the following details would be
main idea is most important to include in notes taken on
A the quinceañera tradition is losing its this article?
importance. A last doll—symbol of leaving childhood
B the quinceañera happens only once in a B chiles and unsweetened chocolate in
girl’s life. mole sauce
C young people rehearse quinceañera C girls in honor court wear light-colored
dances for months. dresses
D the quinceañera is a celebration of a girl’s D a DJ plays current music
passage into adulthood.
4. An outline of this article might have a main
2. Here is the beginning of an outline of heading called “Tradition.” Which following
“Celebrating the Quinceañera.” detail does not support that main idea?
A importance of the number fifteen
I. Introduction
II. Tradition B Aztec girls married at age fifteen
III. Events of the day C “rite of passage”
A. D honor court performs group dance
B. photographs
C. fiesta
Timed Writing
Which of the following items belongs in the 5. Suppose you were summarizing on this arti-
blank space at number III.A.? cle. Re-read the third and fourth paragraphs.
A definition of quinceañera Then, list four events from the quinceañera
ceremony you would include in your sum-
B thanksgiving Mass
mary. List the events in the order they take
C speech
place.
D dancing

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STANDARDS REVIEW Reading Standard 1.4 Monitor exposi-
tory text for unknown words or words
Vocabulary Skills Review with novel meanings by using word, sentence,
and paragraph clues to determine meaning.

Context Clues Directions: Use context clues to determine the mean-

ing of the italicized words in each of the following sentences.

1. I could tell by looking at the ruined build- 5. From the sagging porch to the broken
ings that this earthquake was devastating. windows, the house showed that it had
A destructive been forsaken long ago.
B interesting A repaired
C fulfilling B abandoned
D disappointing C loved
D decorated
2. After the fire alarm sounded, the residents
were evacuated from the building for their 6. The new game show demanded rapid
safety. responses, so contestants had no time to
A watched ponder their answers.
B hidden A think over
C removed B recover
D thrown C regret
D shout
3. The tolerant dog calmly let the kittens run
up and down his back. 7. As soon as the doors opened, the crowd
A tired surged into the store, crowded the aisles,
B patient and looked for bargains.
C confused A yelled
D slow-moving B sneaked
C walked slowly
4. I knew Stella was no friend of mine when D moved forward suddenly
I saw how much she savored my defeat.
A regretted Academic Vocabulary
B copied Directions: Use context clues to determine the
C delighted in meaning of the italicized Academic Vocabulary
D discussed word in the sentence below.
8. She never made things from clay before,
so creating the bowl was a major feat.
A simple
B precise
C important
D artistic

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PREPARING FOR STANDARDIZED TESTS Writing Standard 2.1 Write narratives:
a. Establish and develop a plot and setting

Writing Skills Review and present a point of view that is appropriate to the
stories. b. Include sensory details and concrete lan-
guage to develop plot and character. c. Use a range
Short Story Directions: Read this paragraph from a of narrative devices (e.g., dialogue, suspense).
fictional narrative. Then, answer each question.

Flat Out of Luck

Mrs. Fiona McNulty was late. She smashed her Fifteen minutes later, in the middle of the five
wig onto her head, pulled up the suspend- o’clock rush-hour traffic jam, Mrs. McNulty felt
ers on her overalls, crammed her feet into the the tire go flat. She braced herself and moved
openings of her oversized shoes, grabbed as quickly as she could to the side of the road.
her bag of tricks, and raced out the door to She turned off the motor and climbed out of
her small car. “Oops,” she thought to herself, her car. “Great! What do I do now?” she thought.
“I should have had that tire checked. It looks Mrs. McNulty was already late for her appear-
low. I don’t have time to check it now. I’ll do ance at a child’s birthday party as JoJo the
it on the way home from the birthday party.” Juggling Clown.

1. What words did the writer use to establish 3. Why did the writer put the sentence “Great!
the setting? What do I do now?” in quotation marks?
A “crammed her feet into the openings of A It contains the character’s exact words.
her oversized shoes” B It is the title of the story.
B “in the middle of the five o’clock rush- C It is the story’s conflict.
hour traffic jam” D It creates suspense.
C “braced herself and moved as quickly as
she could” 4. Why did the writer identify the character
D “should have had that tire checked” first as Mrs. Fiona McNulty and later as JoJo
the Juggling Clown?
2. If the writer wanted to add sensory details A to reveal that Mrs. McNulty is not a real
to the story, which of the following sen- person
tences would it be best to include? B to clarify that the character changed her
A The birthday party was at a house across clothing in the car
town. C to create suspense by describing Mrs.
B She had to hurry if she wanted to be on McNulty’s strange clothing before
time. revealing that it is a clown’s costume
C She couldn’t call anyone because she D to cause the reader to feel sympathetic
had left her cell phone at home. toward Mrs. McNulty
D Passersby stared at the clown in a red
wig, baggy overalls, and oversized
shoes.

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For Independent Reading

Fiction
Nothing but the Truth Life As We Knew It
Imagine your life as the
Philip Molloy is suspended
earth changes drastically
when he defies school policy
overnight. An asteroid has
by humming along to the
knocked the moon from
national anthem. He says he
its orbit, causing gigan-
is humming to be patriotic.
tic tsunamis, worldwide
That’s only part of the story,
earthquakes, and violent
however: He really wants to
volcanoes, whose ash blots
irritate his English teacher,
out the sun. In Susan Beth
because Philip made a D in
Pfeffer’s novel Life As We
her class and it kept him off
Knew It, fifteen-year-old Miranda keeps a jour-
the track team. Philip’s deception turns a minor
nal as summer turns into arctic winter and her
infraction into a media circus in Avi’s popular
family survives on stockpiled supplies. Follow
novel Nothing but the Truth.
Miranda’s story as she struggles to hold on to
her most precious resource—hope.

Regarding the Sink Roughnecks

When a clogged cafeteria Once in a while you get a
sink stinks up Geyser Creek second chance. For Travis
Middle School, Sam N’s Cody, today is one of those
sixth-grade class knows who times. His team, the Oil Camp
can help—Florence Waters, Roughnecks, is facing the
the famous designer of the Pineview Pelicans for the state
school’s fountain. The prob- championship. Travis will have
lem is that Waters can’t come forty-eight minutes to redeem
to Geyser to create a new himself in a face-off with his
sink because she’s gone missing. Kate Klise’s rival, Jericho Grooms. In his
Regarding the Sink leads the students on a quest debut novel set in southern Louisiana, Thomas
to solve the mystery, a quest that takes them all Cochran takes us out on the gridiron and inside
the way to China. the mind of Travis Cody, who has one chance,
one game, to prove he isn’t a quitter.

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Nonfiction
Through My Eyes How We Lived:
In Through My Eyes, Ruby Invasion, War and Travel
Bridges tells what it was As early people found new
like to be the first African methods of transportation,
American student in an all- they saw new and distant
white elementary school. lands. To expand their own
In this moving memoir, we civilization, they often had
see her confronting abuse to fight for the new land.
and isolation with remark- Invasion, War and Travel
able courage. Newspaper articles, photographs, traces more than ten thou-
and quotations from the time provide a deeper sand years of the devel-
understanding of her struggle. opment of travel, empires, and weapons and
the ways each one influenced the other. John
Haywood, editor of the How We Lived series, has
included hundreds of maps, works of art, time
lines, and photographs.

Here’s Looking at Me: I Want to Be an Astronaut

How Artists See Themselves Filled with facts about
A self-portrait can some- the history and future of
times tell you more about space exploration, I Want
an artist than a detailed to Be an Astronaut by
biography. In Here’s Looking Stephanie Maze launches
at Me, author Bob Raczka you toward a career as
has chosen fourteen self- an astronaut. This book
portraits by artists span- will help you take the
ning some five hundred first steps necessary to
years. The reproductions make your dreams of traveling to the moon and
are clear and in color, and Razka’s descriptions beyond come true.
give you background into the artists’ lives and
history.
Learn It Online
Find study guides for Nothing But the Truth and
Roughnecks at NovelWise on:
[Link] H6-97 Go

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