Select one novel for the full six weeks. All five options feature a protagonist navigating an unfamiliar or dangerous world — perfect for tracing the hero's journey and building your World Atlas.
Note: Warriors: Into the Wild, Redwall, and The One and Only Ivan have already been read — choose something new!
| Day | Activity |
|---|---|
| Monday | Reading + Journal Read chapters 1–2 of your chosen novel. As you read, take notes on the exposition: Where does the story begin? Who is the protagonist, and what is their world like before anything goes wrong? In your reading journal, write 4–5 sentences capturing your first impressions of the protagonist and their world. |
| Tuesday | Hero's Journey Introduce the Hero's Journey: review the stages (Ordinary World, Call to Adventure, Refusal, Mentor, Crossing the Threshold, Tests & Allies, Ordeal, Reward, Road Back, Resurrection, Return with Elixir). Read chapters 3–4. In your journal, identify: What is the protagonist's "Ordinary World"? Where do you think the Call to Adventure will come from? |
| Wednesday | Reading + Structure Read chapter 5. The inciting incident should be clear by now — the moment that sets the plot in motion. Write a journal entry: Describe the inciting incident in 2–3 sentences. Why does it force the protagonist to act? What would happen if they simply did nothing? |
| Thursday | Grammar Introduce adjective clauses (relative clauses). Find 3 sentences in your novel that contain an adjective clause introduced by who, which, or that. Copy them out, underline the adjective clause, and draw an arrow to the noun it modifies. Then write 4 original sentences about your book using adjective clauses. |
| Friday | Project — World Map Begin your World Atlas with the foundation map. Option A — Paper Map: Sketch a rough map of your novel's world in pencil on a large sheet or sketchbook spread. Label key locations from chapters 1–5 (home territory, named places, the direction of the journey ahead). Add a compass rose and working title. You'll refine and paint it in later weeks. Option B — Minecraft: Build the protagonist's world in Minecraft — create the home territory, surrounding landscape, and any key locations from the opening chapters. Take screenshots for your atlas. Either way, keep your book open and cross-check every detail you include. |
Write a journal entry (6–8 sentences) describing your novel's opening. Cover three things: (1) What the protagonist's ordinary world looks like before the story kicks in, (2) what the inciting incident is and how it disrupts that ordinary world, and (3) where you predict the hero's journey will take the protagonist. Use at least one direct quote from the text with a page number.
Imagine you are a cartographer who has just finished drawing the map of your novel's world. Write a short paragraph (5–7 sentences) in first person, describing what you drew and why you placed things where you did. What's the most dangerous territory on the map? What's the most beautiful? What location does your protagonist not know about yet?
Write 4 sentences about your novel's protagonist using adjective clauses. Each sentence should follow this structure: [Noun] + [adjective clause beginning with who, which, or that] + [rest of sentence]. Example: "Buck, who had lived a comfortable life in California, had no idea what the Yukon wilderness would demand of him." Underline your adjective clause in each sentence.
| Day | Activity |
|---|---|
| Monday | Reading + Journal Read chapters 6–7. Begin a Character Change Journal — a running log you'll add to each day this week. Today's entry: Describe the protagonist at this point in the story. How have they changed from chapter 1? What new challenges are they facing? Find one quote that shows who they are right now. |
| Tuesday | Grammar — Misplaced Modifiers Introduce misplaced modifiers: a modifier (word, phrase, or clause) placed too far from the word it modifies, creating confusion or unintended meaning. Work through 6 example sentences — identify the misplaced modifier and rewrite each sentence correctly. Then find 2 sentences in your novel where the author was careful to place modifiers correctly, and explain why the placement works. |
| Wednesday | Reading + Journal Read chapters 8–9. Add to your Character Change Journal: Has the protagonist met anyone — a mentor, a friend, an enemy — who is shaping who they're becoming? Describe the relationship. What does this character challenge, teach, or threaten in your protagonist? Find a quote. |
| Thursday | Reading + Journal Read chapters 10–11. Final Character Change Journal entry for the week: The rising action is building — what obstacles has the protagonist faced so far? How are they handling pressure or failure? Choose the single most revealing moment of character so far (a decision, a reaction, a moment of courage or fear). Describe it in detail and explain what it shows about who the protagonist is becoming. |
| Friday | Project — Atlas: Terrain + 3D Model Two options today — choose one or combine both: Option A — Atlas Landscape: Fill in terrain on your map using colored pencil, acrylic, or ink. Add mountain ranges, rivers, forests, and weather patterns. Add 2–3 inset sketches showing specific environments from chapters 6–11. Option B — Clay Terrain Model: Build a 3D topographic model of one key region from the book using air-dry clay. Sculpt mountains, valleys, rivers, and the protagonist's home territory. Let it dry and paint it. (If you built in Minecraft last week, base this on your build.) Either way: label everything you make with names from the book. |
Using your daily Character Change Journal entries as material, write a polished paragraph (8–10 sentences) analyzing how your protagonist has developed in chapters 6–11. Your paragraph should: open with a clear claim about how the protagonist is changing, use at least two specific quoted moments from the text as evidence, and end by connecting this character development to where you predict the hero's journey is heading. This is analysis, not summary — tell us what the changes mean, not just what happened.
Write a short paragraph (5–6 sentences) about the rising action in your novel. Then deliberately introduce one misplaced modifier somewhere in your paragraph. Trade with a parent, sibling, or writing partner: can they find and fix it? Discuss: How does a misplaced modifier change the meaning of a sentence? Why does precise placement matter in analytical and creative writing?
| Day | Activity |
|---|---|
| Monday | Reading + POV Study Read chapters 12–13. Focus entirely on point of view: Who is telling this story? Is it first person (I), third person limited (he/she — one character's thoughts), or third person omniscient (multiple characters' inner lives)? Write a journal entry: Identify the POV, give two examples from the text that prove it, and explain how this POV shapes what we know and don't know about the story. |
| Tuesday | Grammar — Dangling Modifiers Introduce dangling modifiers: a participial phrase at the start of a sentence that has no logical grammatical subject ("Running through the forest, the trees blurred past her" — who is running?). Work through 6 examples: identify the dangling modifier and rewrite. Then find 2 passages in your novel where the author successfully uses a participial phrase opening — notice how they anchor it with a clear subject. |
| Wednesday | Reading + Perspective Shift Read chapters 14–15. Choose a scene from chapters 12–15 told from your protagonist's point of view. In your journal, rewrite 1 key paragraph of that scene from the perspective of a different character present in the scene. What would they notice that the protagonist doesn't? What would they feel differently about? |
| Thursday | Reading + Analysis Read chapters 16–17. Write your POV Analysis Paragraph: a formal analytical paragraph examining how the author's choice of point of view affects the reader's experience of the story. Use the RL.7.6 standard as your guide — how does the author's POV choice develop the narrator's or speaker's perspective? See writing prompt below for full instructions. |
| Friday | Project — Character Portraits Atlas work day: paint or ink two character portraits to add to your World Atlas. One should be your protagonist; the other should be a secondary character who significantly affects the protagonist's journey. For each portrait, write a 2–3 sentence caption that references a specific moment from the text showing why this character matters. |
Write a formal analytical paragraph (10–12 sentences) examining how the author's choice of point of view affects the reader's understanding of the story. Your paragraph must include: (1) a clear topic sentence naming the POV and making a claim about its effect, (2) at least two quoted examples from the text showing the POV in action, (3) analysis of what each example reveals or conceals about the story world, and (4) a concluding sentence explaining how this POV choice serves the author's overall purpose. No personal opinion — this is literary analysis.
Choose one scene from chapters 12–17 told from the protagonist's viewpoint. Rewrite that same scene (8–12 sentences) from the perspective of a different character present in the scene. Change only the narrator — keep the events identical. Then write 2–3 sentences reflecting on what changed: What new information came through? What did the original POV leave out or distort?
| Day | Activity |
|---|---|
| Monday | Reading + Theme Read chapters 18–19. In your journal, write your best current statement of the novel's theme — not a one-word topic like "courage," but a complete sentence capturing the book's central idea (e.g., "True belonging requires sacrificing the comfort of what you've always known"). Support your statement with three specific moments from the text so far. |
| Tuesday | Grammar — Active vs. Passive Voice Introduce active voice (subject acts: "The wolf led Mowgli through the jungle") vs. passive voice (subject is acted upon: "Mowgli was led through the jungle by the wolf"). Find 3 passive voice sentences in your novel and rewrite them in active voice. Then discuss: Are there times in your novel when passive voice seems to be used deliberately? Why might an author choose it? |
| Wednesday | Reading + Essay Pre-Writing Read chapters 20–21. Choose your argumentative essay claim from the options below (or create your own with similar structure). In your journal, do a full pre-write: write your claim, then brainstorm at least 4 pieces of evidence from the novel that support it, and jot down 1–2 counterarguments you'll need to address. |
| Thursday | Argument Planning Read chapter 22. Organize your essay plan: claim, 2–3 body paragraphs (what evidence goes where?), counterargument placement, conclusion approach. Create an outline using complete sentences for your topic sentences. This outline is your road map — take it seriously. |
| Friday | Project — Illustrated Scene Spreads Atlas work day: create 1–2 illustrated scene spreads. Choose the most visually dramatic or emotionally important moment you've read so far. Paint or draw it across a full page or two-page spread in your atlas. Add a brief written caption (3–5 sentences) explaining the scene's significance in the hero's journey. |
Choose one of the following claims for your argumentative essay, or craft your own with similar specificity. Your claim must be debatable (not a simple fact) and supportable with evidence from your novel.
Option A: "In [novel title], the protagonist's greatest obstacle is not the external world but their own fear and doubt — and overcoming it is what truly defines them as a hero."
Option B: "In [novel title], the natural world is not just a setting but a teacher — the protagonist learns more from nature than from any human or human-made rule."
Option C: "In [novel title], belonging to a community and following one's own instincts are in direct conflict — and the author suggests that [one must win / both can coexist]. Argue for a specific position."
This week: Write your claim in one polished sentence, then write a full pre-write (brainstorm list of evidence + possible counterarguments). Do not draft sentences yet — just collect raw material.
Write a 2-paragraph journal entry. Paragraph 1: State your best reading of the novel's theme in one complete sentence, then explain it in 3–4 sentences. Paragraph 2: List three specific scenes, moments, or quotes from chapters 1–22 that you will use as evidence in your essay. For each, write the page number and 1–2 sentences explaining why this evidence matters for your argument.
| Day | Activity |
|---|---|
| Monday | Targeted Rereading Go back and reread 3–4 key passages you identified in your evidence log last week. This time, read like a writer: mark specific lines you'll quote, note the context around each, and look for any details you missed the first time. Add any new evidence to your outline. Then draft your introductory paragraph: open with a hook (a vivid quote from the novel or a striking question), provide 2–3 sentences of context, and end with your claim. |
| Tuesday | Draft — Body Paragraph 1 Write your first body paragraph. Structure: topic sentence (sub-claim supporting your main claim) → introduce evidence → quote directly from the text → explain how the quote supports your claim → connect back to your thesis. Aim for 8–10 sentences. Grammar focus: check for passive voice — convert any unnecessary passive constructions to active voice. |
| Wednesday | Draft — Body Paragraphs 2 & 3 Write body paragraphs 2 and 3. One paragraph should address your counterargument: acknowledge a valid opposing view, then refute it with evidence. Keep momentum — write without stopping to perfect each sentence. You'll revise next week. End the day by drafting your conclusion: restate (don't repeat) your claim, synthesize your main points, and close with a final thought about why this argument matters beyond the novel. |
| Thursday | Grammar — Comma Rules Comma mini-lesson focused on three rules that most affect analytical writing: (1) comma after introductory adverb clause ("Although the wolf pack accepted him, Mowgli always felt torn"), (2) commas around nonrestrictive adjective clauses ("Buck, who had once been a pampered pet, discovered a ferocity he never knew he had"), (3) comma before coordinating conjunction in compound sentence. Find 2 examples of each rule in your novel. |
| Friday | Project — Complete World Atlas Final atlas work day. Your atlas should contain: (1) a detailed landscape map with labeled locations, (2) terrain/environment details and inset sketches, (3) two character portraits with captions, (4) one or two illustrated scene spreads with written descriptions. Today: add any finishing touches — borders, decorative elements, a title page or cover spread. Write brief descriptions (2–4 sentences each) for any atlas pages that still need them. The atlas should be 6–10 pages total. |
Write a complete first draft of your argumentative essay. Required structure: Introduction (hook + context + claim) · Body Paragraph 1 (first supporting argument + evidence + analysis) · Body Paragraph 2 (second supporting argument + evidence + analysis) · Body Paragraph 3 (counterargument + refutation with evidence) · Conclusion (synthesis + final thought). Length: approximately 400–600 words. Do not worry about perfection — write a full draft from beginning to end. You will revise in Week 18.
For each page or spread in your World Atlas, write a brief description (2–4 sentences). Each description should: name what is shown, connect it to a specific event or place in the novel, and explain why it is significant to the hero's journey. Think of these as museum labels — concise, informative, and tied to the text.
| Day | Activity |
|---|---|
| Monday | Peer / Parent Review Share your essay draft with a parent, sibling, or writing partner. Ask them to use the revision checklist below: Is the claim clear and arguable? Does each body paragraph have a quote and real analysis? Does the counterargument feel fair and well-handled? Are there any unclear sentences or grammar issues? Take notes on their feedback in your journal. Do not revise yet — just listen and absorb. |
| Tuesday | Revision — Content & Structure Revise your essay for content and structure. Focus on: Does your claim actually say something? Is your evidence the best you found — or did you settle? Does your analysis go deep enough, or do you just summarize? Is your counterargument paragraph honest and well-argued? Rewrite any weak paragraphs from scratch rather than just patching them. |
| Wednesday | Revision — Grammar & Style (W.7.5) Line-edit your revised draft. Check: adjective and adverb clauses for correct comma use · no misplaced or dangling modifiers · active voice used consistently (passive only where intentional) · sentence variety (not all short, not all long) · smooth integration of quotes (not just dropped in). Read every sentence aloud — your ear will catch what your eye misses. |
| Thursday | Finalize + Atlas Polish Write or type your final clean copy of the essay. Proofread one more time. Set it aside. Then do a final pass on your World Atlas: make sure all captions are written, all pages are neat, and the atlas tells the story of your novel's world coherently from beginning to end. Prepare how you'll present it: What will you say about each page? What's your opening line? |
| Friday | 🎉 Showcase — World Atlas + Essay (SL.7.4) Set up your showcase: display the World Atlas open to its most impressive spread, and have your essay ready. Invite a family member to be your audience. Present: (1) Walk through the World Atlas page by page — describe each map, portrait, scene, and caption. Let your audience ask questions about the world and the characters. (2) Read your best essay paragraph aloud — the one you're proudest of. (3) Reflect together: How did mapping the world help you understand the story better? What was the hardest part of writing an argument? |
Produce your polished final copy of the argumentative essay. Minimum requirements: introduction with a clear, specific claim; two supporting body paragraphs with textual evidence and analysis; one counterargument paragraph with refutation; conclusion that synthesizes and closes with purpose. Length: 400–600 words. Include in-text citations for direct quotes (author's last name, page number). Grammar requirements: at least one adjective clause, one adverb clause, and no misplaced or dangling modifiers in the final draft.
Write a final journal reflection (1 page). Answer these four questions: (1) What did you discover about the hero's journey — in your novel and in storytelling generally? (2) What was the most challenging part of the argumentative essay, and what did you learn from it? (3) What page of your World Atlas are you most proud of, and why? (4) If you could follow this protagonist on another journey, where would you want the story to go next?
| Criteria | Excellent (4) | Proficient (3) | Developing (2) | Beginning (1) |
|---|---|---|---|---|
| Topic Sentence & Claim | Names the POV precisely and makes a specific, insightful claim about how it shapes the reader's experience of the story | Names the POV and makes a clear claim about its effect on the story | Topic sentence is present but vague; claim is too broad or too obvious | No clear claim; reader cannot tell what the paragraph is arguing |
| Textual Evidence | 2+ well-chosen quotes that specifically illustrate the POV at work; smoothly introduced with page numbers | 2 quotes present with page numbers; some integration into the analysis | 1 quote present, or quotes are present but dropped in without context | No direct evidence from the text; claims are unsupported |
| Analysis of Effect | Explains precisely what each piece of evidence reveals or conceals; connects POV to the author's larger purpose; goes beyond the obvious | Explains how the evidence supports the claim about POV; some depth of analysis | Evidence is described but not analyzed; paragraph summarizes rather than analyzes | No analysis; paragraph only identifies the POV without examining its effect |
| Conclusion | Closes with a nuanced statement about how POV serves the author's purpose; connects to the overall meaning of the work | Concluding sentence restates the claim meaningfully | Conclusion is weak or merely repeats the topic sentence word for word | No concluding sentence; paragraph just stops |
| Conventions & Style | Formal analytical voice; varied sentence structure; no errors; adjective or adverb clause used effectively at least once | Formal voice maintained; minor errors that don't disrupt meaning | Some informal language or errors that occasionally distract | Frequent errors or very informal language that undermines analytical credibility |
| Criteria | Excellent (4) | Proficient (3) | Developing (2) | Beginning (1) |
|---|---|---|---|---|
| Claim | Claim is specific, arguable, and sophisticated — it takes a clear position that a reasonable person could disagree with; placed clearly at the end of the introduction | Claim is present, arguable, and clearly stated; specific enough to guide the essay | Claim is too broad, too obvious, or not truly arguable; or it is buried and hard to find | No clear claim; the essay does not have a governing argument |
| Evidence | 3+ pieces of textual evidence (direct quotes with page numbers); each is introduced in context and is the most relevant possible choice for the argument | 2–3 pieces of textual evidence with page numbers; mostly well-chosen and introduced | 1–2 pieces of evidence; quotes may be dropped in without context, or evidence is only paraphrase | No direct evidence from the text, or evidence does not relate to the claim |
| Analysis | Analysis is the strongest part: explains precisely how each piece of evidence proves the claim; makes connections across paragraphs; avoids simply restating the evidence | Analysis is present for each piece of evidence; explains the connection to the claim | Some analysis present, but often the essay just summarizes the plot rather than analyzing it | No analysis; essay is mostly summary or description with evidence attached |
| Counterargument | Presents the strongest, most reasonable version of the opposing view; refutes it directly with evidence; paragraph actually strengthens the overall argument | Counterargument is present and fair; refutation uses evidence | Counterargument is present but weak or one-sided; refutation is vague or lacks evidence | No counterargument; essay only presents one side |
| Conclusion | Synthesizes (does not merely repeat) the argument; closes with a meaningful final thought about why this argument matters — connects to theme, the real world, or the reader's own experience | Conclusion restates the claim and main points; offers a closing thought | Conclusion only repeats the introduction; no new synthesis or closing thought | No conclusion, or conclusion is one sentence that adds nothing |
| Conventions (L.7.1) | No significant errors; active voice used consistently; no misplaced or dangling modifiers; commas used correctly throughout; sentences vary in structure; adjective and adverb clauses used correctly at least once each | Minor errors that don't disrupt meaning; active voice mostly used; modifier placement mostly correct | Several errors in modifier placement, comma use, or voice that occasionally distract; sentence structure monotonous | Frequent errors throughout that undermine credibility; passive voice overused; modifiers frequently misplaced |
| Criteria | Excellent (4) | Proficient (3) | Developing (2) | Beginning (1) |
|---|---|---|---|---|
| Textual Accuracy (RL.7.3) | All locations, landscapes, and characters accurately reflect specific details from the text; 5+ direct textual references can be pointed to across the atlas; no invented elements contradict the novel | Most elements accurately reflect the text; 3–4 textual references are clearly present; minor inconsistencies | Some elements are accurate but significant details are invented without basis in the text; only 1–2 clear textual references | Atlas appears disconnected from the text; characters, settings, or events are unrecognizable or inaccurate |
| Completeness | Atlas contains all required elements: world map, landscape/terrain detail, character portraits (2), illustrated scene spread(s), and written descriptions (2–4 sentences each) for all pages; 6–10 pages total | Atlas contains most required elements; 5–9 pages; 1 element may be brief but present | Atlas is missing 1–2 required elements; fewer than 5 pages; some pages lack written descriptions | Atlas is significantly incomplete; fewer than 4 pages; multiple required elements missing |
| Craft & Art Quality | Each page shows clear effort, skill, and care; media choices (acrylic, ink, colored pencil) are used intentionally; composition is thoughtful; the atlas feels like a real artifact from the story's world | Each page is completed with care; good effort is evident; compositions are readable and engaging | Some pages are rushed or underdeveloped; art is present but lacks detail or care; compositions are unclear | Minimal effort overall; many pages are incomplete sketches or lacking visual development |
| Written Descriptions | Descriptions are concise, specific, and deeply connected to the text; each ties the illustrated page to a specific event in the novel and to the hero's journey; writing is polished and error-free | Descriptions are clear and connected to the text; most reference specific events; mostly error-free | Descriptions are vague or generic; they describe what is shown without connecting to the text or the hero's journey | Descriptions are missing for most pages, or are so brief as to be meaningless |
| Oral Presentation (SL.7.4) | Presents atlas clearly and confidently; explains the significance of each page with specific reference to the text; speaks in complete sentences; engages the audience; reads essay paragraph fluently with expression | Presents each page clearly; explains connections to the novel; reads essay paragraph aloud | Presentation is brief or unclear; some pages are skipped over or described vaguely; essay paragraph is read with minimal expression | Presentation is very brief, unprepared, or difficult to follow; essay paragraph is not read aloud or is read inaudibly |