| Day | Activity |
|---|---|
| Monday | Reading + Analysis Spend 45–60 minutes slowly reading (looking through) Shaun Tan's The Arrival or a comparable wordless illustrated book. Do not rush — treat each page like a painting. In your reading journal, describe 3 specific images that made you feel an emotion. What is happening? How do the lines, shadows, and composition make you feel it, without any words at all? |
| Tuesday | Writing — Visual Analysis Choose one double-page spread from The Arrival that tells a complete mini-story on its own. Write a 1-page visual analysis response: What do you see in the foreground, middle ground, and background? What mood does the image create, and how — through light, scale, angle, or detail? What story does it tell? What would you have to add in words to explain what the images already show? |
| Wednesday | Grammar — Figurative Language Intro Introduction to the four figurative language devices for this unit: simile (comparison using like/as), metaphor (direct comparison), personification (giving human qualities to non-human things), and symbolism (an object/image representing a bigger idea). Find one example of each in a poem or prose excerpt provided, label it, and explain what effect it creates. Then write one original sentence using each device. |
| Thursday | Art + Project Kickoff Today you begin your Signature Project. In your sketchbook, do 3–5 rough sketches of possible animal protagonists for your original short story. Your character must be an animal living in a fantastical world. Try different species, different expressions, different postures. Below each sketch, jot down 3 words that describe that character's personality. Which one feels most alive to you? |
| Friday | Discussion + Unit Preview Share your protagonist sketches and your visual analysis response. Discuss: How is "reading" a wordless book different from reading prose? What can images do that words can't — and vice versa? Review the unit's full project arc: illustrated short story, clay sculpture, mini author event in Week 24. |
Write a full-page visual analysis of one image or spread from The Arrival. Your response must address: (1) what you literally see (describe the composition in detail), (2) what mood or emotion the image creates and how the artist achieves it through specific visual choices, and (3) what story this single image tells — who is in it, what just happened, what is about to happen. End with one sentence explaining what a written version of this moment would need to add that the image leaves out.
Write a short paragraph (5–7 sentences) describing your animal protagonist as if introducing them to a reader for the very first time. You must include: one simile, one metaphor, and one example of personification applied to the natural world around them. Underline each device and label it in the margin. Focus on making the reader see and feel your character, not just know facts about them.
| Day | Activity |
|---|---|
| Monday | Reading + Poetry Read 3–4 Mary Oliver poems focused on the natural world (suggestions: "The Summer Day," "Wild Geese," "The Black Snake," "When Death Comes"). Read each one twice — once aloud, once silently. In your journal, for each poem record: one image that you can picture exactly, one line that surprised you, and one emotion the poem made you feel. Notice how Oliver uses animals, plants, and landscapes as a way of talking about big human ideas. |
| Tuesday | Grammar — Connotation vs. Denotation A word's denotation is its dictionary definition. Its connotation is the feeling or association it carries. Compare: thin / slender / gaunt / scrawny — same denotation, very different connotations. Work through a list of 10 word pairs. For each, label whether the connotation is positive, negative, or neutral, and explain the difference in feeling. Then revise 5 sentences from a bland paragraph by swapping neutral words for ones with stronger connotations. |
| Wednesday | Reading + Prose Excerpt Read the excerpt from Wolf Hollow by Lauren Wolk (first chapter or a nature-description passage your teacher selects). Notice how Wolk layers sensory details — not just what things look like, but how they smell, sound, and feel underfoot. In your journal, create a "Sensory Map" of the passage: list details under the five senses. Which sense does Wolk use most? Which does she use least? What effect does that create? |
| Thursday | Writing — Sensory Poem OR Description Paragraph Using your protagonist sketch and your notes from this week, choose your form: Option A — Sensory Poem: Write a free verse poem (12–20 lines) from your animal protagonist's point of view, using at least 4 of the 5 senses. Each line should contain one vivid sensory detail. Look at how Mary Oliver builds a poem and try the same technique. Option B — Description Paragraph: Write an 8–10 sentence paragraph describing the fantastical world your character inhabits. Either way, use at least two strong connotation word choices — words that carry a specific feeling beyond mere description. |
| Friday | Project — Story Outline + Illustrated Scene Map Develop your story outline using a story map template: (1) protagonist — species, name, personality, goal; (2) the world; (3) the inciting problem or journey; (4) the climax; (5) the ending. Write the outline in words, then draw an illustrated scene map — a visual flow of your story's key moments with small thumbnail sketches for each scene. (Think of it like a storyboard, but looser.) This visual plan will guide both your writing AND your illustrations over the next few weeks. |
Write a descriptive paragraph (8–10 sentences) introducing the fantastical world your animal protagonist lives in. Requirements: at least one detail for each of the five senses, at least two words chosen specifically for their connotation (circle them and note the connotation in the margin), at least one simile or metaphor. The goal is not to explain the world — it is to place the reader inside it, disoriented and curious and alive to it.
Write a poem of 12–16 lines inspired by Mary Oliver's style, focused on one specific animal in a specific natural moment. Start with what you can observe exactly — the physical creature, the exact setting, the particular light. Then, in the second half of your poem, let the observation open into something larger: a question, a feeling, an idea about what it means to be alive. Use at least one strong figurative language device.
Write your story outline as a brief narrative summary (1 paragraph, 8–10 sentences) rather than a bulleted list. Tell the story from beginning to end as if you're telling it to a friend: "My story is about a fox named __ who lives in a world where __ and one day __ and because of that __ until finally __ and after that __ and the story ends when __." This is your story's spine. Keep it — you'll need it every week as a guide.
| Day | Activity |
|---|---|
| Monday | Reading + Comparison Read the opening chapter of Nimona by Noelle Stevenson (graphic novel format) alongside the opening of a prose fantasy novel featuring animals (student-selected illustrated fantasy picture book or Wolf Hollow excerpt). In your journal, create a two-column comparison: How does each format establish the protagonist? How does each establish the world? Which format pulls you in faster, and why? |
| Tuesday | Grammar — Symbolism + Extended Metaphor Symbolism: when an object, animal, or place stands for a larger idea (a broken cage = lost freedom; a returning bird = hope). Extended metaphor: when a single metaphor is developed and sustained across several sentences or even an entire work. Study two examples from your readings. Then brainstorm: What objects or images in your story world could work as symbols? Sketch 3 candidates and explain what each could represent. |
| Wednesday | Writing — Draft Story Opening Write the opening of your original short story — the first scene, approximately 1–1.5 pages. Your opening must accomplish two things: (1) establish the setting so the reader can feel and sense the world, and (2) introduce the protagonist in action (doing something, perceiving something, wanting something) — not with a list of their characteristics. Do not begin with "My character is a fox named Rue who lives in..." — drop the reader directly into the world. Just write — do not edit. |
| Thursday | Art — Begin Clay Rough Form First clay session. Using air-dry clay, polymer clay, or ceramic clay, create the rough three-dimensional form of your animal protagonist. This week is about shape and proportion only — not detail or finish. Block out the basic body, head, and limbs. Think about posture and gesture: What is your character doing with their body? How does their posture show their personality? Let the clay be rough — you'll refine it in Week 22. |
| Friday | Discussion + Review Share your story opening (read it aloud) and your clay rough form. Discuss: Does the opening make you want to keep reading? Does the clay figure feel like the same character? Talk about symbolism in published stories you've loved — what objects or details carried deeper meaning? |
Write the opening scene of your original short story (1–1.5 pages, handwritten or typed). Rules for this draft: Start in the middle of a moment — your protagonist is already doing something. Include at least three sensory details within the first paragraph. Do not name your protagonist in the first sentence — let the reader meet them in motion first. End your opening scene with a sentence that makes the reader want to know what happens next. This is a first draft: be bold, be messy, keep writing.
Write a focused comparison paragraph (8–10 sentences) analyzing how the opening of Nimona and the opening of your prose text each establish character and world. Use specific examples from both texts. Your paragraph should end with a sentence answering: For your own story, which technique — visual storytelling or prose description — do you think you'll use most, and why?
| Day | Activity |
|---|---|
| Monday | Reading — Dialogue Study Read selected excerpts from Nimona and Wolf Hollow chosen specifically for strong dialogue. For each excerpt, answer in your journal: (1) Can you tell who is speaking without the dialogue tag? (2) What does each character's word choice reveal about their personality, age, power, or mood? (3) How does the dialogue move the plot forward — does it reveal new information, create conflict, or change a relationship? Collect 2–3 examples of dialogue you admire and explain why they work. |
| Tuesday | Grammar — Punctuating Dialogue Master the rules for punctuating dialogue: quotation marks around spoken words; comma inside the closing quotation when a dialogue tag follows; new paragraph for each new speaker; question marks and exclamation points inside quotation marks; no comma when the sentence ends with a period inside the quote and no tag follows. Work through 8 incorrectly punctuated dialogue examples and fix them. Then write 4 original dialogue exchanges that each use a different punctuation pattern. |
| Wednesday | Writing — Draft Dialogue Scene Write a scene from your story (1–1.5 pages) that is primarily driven by dialogue between your protagonist and at least one other character. Each character must have a distinct voice — the reader should be able to tell them apart. Include: at least 8 lines of dialogue, at least 2 different dialogue tag constructions (said / asked / whispered / growled, etc.), and at least one moment where a character's inner thought is woven between lines of dialogue. Correctly punctuate all dialogue. |
| Thursday | Art — Stop Motion OR Refine Clay + Begin Illustrations Option A — Stop Motion: Use your clay figure (or make a simple one today) to create a 20–30 second stop motion scene from your story. Film frame by frame using a phone, tablet, or camera — even 60–80 photos makes a fun short clip. Choose one key moment from your story to bring to life. Watch it back and share it. Option B — Clay + Illustrations: Return to your clay rough form and add fur texture, facial details, and refined proportions. Then begin your first story illustration — pencil sketch the scene, then start adding color in acrylic, colored pencil, oil pastel, or ink. |
| Friday | Discussion + Peer Share Read your dialogue scene aloud. Discuss: Does each character sound different? Where does the dialogue feel flat or stiff, and where does it feel alive? Share your illustration sketch — does the image you're making match the story you're writing, or has drawing it changed what you want to write? |
Write a scene from your original story (1–1.5 pages) in which dialogue carries the primary weight of the narrative. Requirements: at least two characters with clearly distinct voices; at least 8 lines of dialogue, all correctly punctuated; at least one vivid verb used as a dialogue tag (not "said"); and at least one moment where the narration interrupts with an action beat or an internal thought, rather than a dialogue tag. After you write it, underline every dialogue tag and ask: could I cut this tag and still know who is speaking? If yes, cut it.
Here are five lines of dialogue with punctuation errors — rewrite each one correctly, then explain in one sentence what rule you applied: (1) "I don't know where the river goes" she said quietly. (2) She whispered "the forest knows your name." (3) "Run!" He shouted, "They're right behind us"! (4) He asked if she had ever seen the northern lights before. (5) "I am not afraid," the fox said. "But I am careful". Compare your corrections with the grammar rules from Tuesday's lesson.
| Day | Activity |
|---|---|
| Monday | Revision — Mentor Text Study Choose a 1–2 page passage from one of your favorite fantasy animal books — one that does something you want your own story to do (build tension, paint a vivid world, make you love a character). Study it closely: How many sentences on a page are long vs. short? Where does the author slow down the action with description, and where do they speed up with short sharp sentences? Take notes. Then read your own draft opening and ask: Where can I apply these techniques? |
| Tuesday | Writing — Targeted Revision: Sensory Detail + Figurative Language Reread your entire story draft so far. With a colored pencil, circle every sensory detail. With a different color, underline every figurative language device. Count them. If you have fewer than 5 sensory details per page, this revision session is for adding them. If your figurative language feels forced or generic ("as fast as lightning" — we've all heard it), replace it with something surprising and specific to your world. Revise at least 10 sentences. |
| Wednesday | Writing — Draft Rising Action Write the middle section of your story — the rising action — bringing your draft to approximately 3–4 pages total. This is the part where things get harder, stranger, and more urgent for your protagonist. Your character must face at least one obstacle or moment of choice. The world should feel more present and pressured. Keep your symbol or extended metaphor active — let it reappear. Write without stopping to edit. |
| Thursday | Art — Finalize Clay + Complete Illustrations Final clay session: add any last details, smooth or texture surfaces as fits your character, and allow to fully dry (or begin baking if polymer clay). Begin painting or inking your illustrations. You need at least 3–4 illustrations for a 4–6 page story. Each illustration should correspond to a key moment in the narrative and be composed deliberately — think about what angle, what moment, and what detail the reader most needs to see. |
| Friday | Peer or Family Feedback + Plan Final Draft Share your full draft so far with a reader. Ask them to answer three specific questions: (1) Where did you most feel inside the world? (2) Where did you lose track of what was happening or why? (3) What do you most want to know happens next? Use their feedback to make a revision plan for Week 24's final draft. Write down 3 specific things you will revise. |
Write the rising action of your story (targeting 3–4 pages total draft length after this session). Your protagonist must face at least one obstacle that tests something essential about their character — not just a physical obstacle, but something that challenges who they are or what they believe. Build tension using at least two of the following techniques: (1) a short-sentence burst to speed up a frightening moment, (2) a symbolic object reappearing, (3) unexpected dialogue that changes everything, (4) a description that creates dread through sensory detail rather than stating the emotion directly.
After your targeted revision session, write a one-paragraph revision note to yourself (5–7 sentences): What three specific changes did you make, and why? Where in the story do you feel the revision made the biggest difference? What is still not working — and what is your plan for fixing it in Week 24? This note is for you, not for anyone else, so be honest.
| Day | Activity |
|---|---|
| Monday | Writing — Final Draft Using last week's revision plan, write your final complete story draft (4–6 pages). This draft should include your opening scene, rising action, climax, and resolution. Work section by section. Keep your story outline nearby. Your goal today is a complete, coherent draft — messy in places is fine, but the shape must be whole. Read it aloud to yourself when you finish; mark anything that sounds wrong or flat. |
| Tuesday | Writing — Proofreading + Author's Note Final proofreading pass: read your story aloud one sentence at a time — backwards through the page if necessary — catching spelling, punctuation, and dialogue errors. Fix at least 10 things. Then write your Author's Note (1 paragraph, 6–8 sentences): Where did this story come from? What animal did you choose and why? What was the hardest part to write? What do you most want your reader to feel when they close the last page? The Author's Note goes at the front or back of your finished book. |
| Wednesday | Book Assembly + Display Prep Assemble your illustrated story into final book form: order the pages, position the illustrations, create a title page with title and author name, and attach or bind the pages. Set up your display area: your finished clay figure should be positioned as if it has stepped out of the story. Arrange the clay figure, the story, and any process sketches (protagonist sketches, story outline, illustration drafts) for the author event. Write a short display card for your clay figure (3–4 sentences describing the character). |
| Thursday | Author's Craft Reflection Write a full-page author's craft reflection in your journal. Answer: What did you learn about storytelling during this unit that you didn't know before? Which figurative language device came most naturally to you, and which was hardest? What would you do differently if you wrote this story again? What does your story want to say — what is the deeper meaning underneath the plot? Attach this reflection to your project portfolio. |
| Friday | 🎉 Unit 4 Showcase — Author Event Today you are an author. Set up your display table: illustrated story book (open to a favorite spread), clay figure with its display card, any stop motion video queued up to show. Invite family members or homeschool community members. Run the event: (1) Screen your stop motion clip (if you made one). (2) Walk visitors through the clay figure and illustrations. (3) Read your story aloud — the whole thing or a meaningful excerpt. (4) Read your Author's Note. Take questions. After the event, write one final journal entry: How did it feel to share your story? What surprised you when you heard it aloud? |
Write your Author's Note (6–8 sentences) to be published with your finished story. An Author's Note is not a summary of the plot — it is you speaking directly to your reader about the story behind the story. Address at least three of the following: Why this animal? Why this world? What question or feeling was this story trying to explore? What was the hardest moment in the writing? What do you hope the reader carries away? Write it as if you are handing the book to someone you want to love it.
Write a full author's craft reflection (1 page) covering the following: (1) What figurative language device did you use most deliberately in your final story — find a specific example and explain the choice you made; (2) Identify one moment in your story where you think your dialogue is strongest — what makes it work; (3) What is the theme of your story stated as a complete sentence; (4) What one sentence in the whole story are you most proud of, and why. This reflection goes in your portfolio and is a demonstration of RL.7.4, W.7.3, W.7.5, and L.7.5.
After your mini author event, write a journal entry (half page) reflecting on the experience of sharing your story aloud. What was it like to hear your words read in a room with other people in it? Did anything surprise you — a reaction you didn't expect, a part of the story that landed differently when spoken? What would you change now that you have heard it? What did you feel proudest of?
| Criteria | Excellent (4) | Proficient (3) | Developing (2) | Beginning (1) |
|---|---|---|---|---|
| Identification Accuracy | Correctly identifies simile, metaphor, personification, and symbolism every time; never confuses device types | Correctly identifies all four devices with only minor errors | Identifies 2–3 device types accurately; occasional confusion between types | Identifies 1 device type or frequently mislabels devices |
| Effect Analysis | Explains precisely how each device creates a specific mood, image, or emotional effect — goes beyond "it makes it more interesting" | Explains the effect of each device clearly and specifically | Names the device and describes what it means, but effect analysis is vague | Identifies the device but cannot explain what effect it creates |
| Connotation vs. Denotation | Distinguishes connotation from denotation with precision; chooses words with intentional connotative effect in own writing | Accurately distinguishes connotation from denotation; explains difference clearly | Understands the concept but application in own writing is inconsistent | Confuses connotation and denotation; little awareness of word feeling vs. word meaning |
| Textual Evidence | All analysis is anchored to specific quoted text; quotations are smoothly integrated with context | Most analysis uses specific quoted evidence; integration is adequate | Some quoted evidence present but analysis often floats without textual grounding | Little or no quoted evidence; claims are general and unsupported |
| Written Expression | Clear, precise analytical sentences; vocabulary is strong; no significant errors | Clear sentences; vocabulary is appropriate; minor errors only | Some clarity issues or errors that occasionally distract from analysis | Frequent errors or vague language that makes analysis hard to follow |
| Criteria | Excellent (4) | Proficient (3) | Developing (2) | Beginning (1) |
|---|---|---|---|---|
| Animal Voice & Perspective | The protagonist's animal nature is fully inhabited — their perception, instincts, and movement feel genuinely non-human; the voice is distinctive and consistent throughout | Animal perspective is consistent and believable; voice is distinct from a human narrator | Animal perspective is present but occasionally slips into a human viewpoint; voice is inconsistent | The animal protagonist reads as a human character in an animal costume; little sense of non-human perspective |
| Plot Structure | Clear narrative arc (opening / rising action / climax / resolution); each section is purposeful; the ending feels earned and resonant | All four structural elements are present; the arc is coherent and complete | Structure is present but underdeveloped — the climax or resolution feels rushed or unclear | Plot lacks clear structure; the story does not have a discernible arc or does not reach a resolution |
| Figurative Language | Simile, metaphor, personification, and/or symbolism are woven throughout the story in ways that deepen meaning; at least one extended metaphor or recurring symbol adds thematic resonance | At least three figurative language devices are used deliberately and effectively; they enhance the writing rather than decorate it | Figurative language is present but sparse or generic ("fast as lightning"); devices feel added rather than organic | Little or no figurative language; or attempts that do not work ("the tree was like a tree") |
| Dialogue & Character Voice | Dialogue is correctly punctuated; multiple characters have distinct, recognizable voices; dialogue advances plot or reveals character — it does more than convey information | Dialogue is mostly correctly punctuated; characters can be distinguished by voice; dialogue generally serves the story | Dialogue is present but characters sound similar; punctuation errors are frequent; dialogue sometimes stops the story rather than moving it | Minimal dialogue; punctuation errors throughout; or dialogue that has no narrative function |
| Sensory Detail & Word Choice | Rich, specific sensory language runs throughout — all five senses are represented; word choice is deliberate and connotatively strong; vivid verbs replace generic ones | Strong sensory detail in most sections; word choice is generally precise and evocative | Sensory detail is present but uneven — concentrated in the opening, absent elsewhere; some generic word choices | Little sensory detail; mostly visual; word choices are generic and flat |
| Conventions | Spelling, punctuation, and grammar are correct throughout; dialogue is perfectly punctuated; the text is polished and ready to be read by an audience | Mostly correct with only minor errors that do not distract from reading | Errors are noticeable in multiple places; some dialogue punctuation errors; some sentences are unclear | Frequent errors throughout that interfere with reading; story is difficult to follow due to mechanical issues |
| Criteria | Excellent (4) | Proficient (3) | Developing (2) | Beginning (1) |
|---|---|---|---|---|
| Clay Figure — Character Embodiment | The figure unmistakably represents the story's protagonist; posture, gesture, and detail communicate character personality without words; clearly the same character as in the written story | The figure represents the protagonist clearly; personality is suggested through posture or expression | The figure represents an animal but lacks specific personality or connection to the written character | The figure is a generic animal shape with no evident connection to the story character |
| Clay Figure — Craft & Effort | Detailed, fully realized sculpture; surface detail (fur texture, facial features, paws, scales) is carefully crafted; clearly took sustained effort over multiple sessions | Completed with care; three-dimensional form is solid; shows planning and genuine effort | Partially complete or basic; form is present but lacks detail or finish | Minimal or rushed; very rough form with little evidence of careful work |
| Illustrations — Story Connection | Each illustration corresponds to a key moment in the story; composition choices (angle, framing, what to show) are deliberate and deepen the reader's experience of those moments | Illustrations correspond to story moments; compositions are clear and purposeful | Illustrations are present but loosely connected to story moments; compositions are generic | Illustrations do not clearly connect to the written story; appear decorative rather than narrative |
| Illustrations — Visual Quality & Effort | Consistent art style across all illustrations; color, line, and composition used with intention; clearly the student's own artistic voice | Illustrations are completed with care; consistent enough to read as a unified book | Illustrations vary in completeness or style; some appear unfinished | Illustrations are very simple, incomplete, or inconsistent |
| Display Coherence + Author's Note | Display tells a complete story: story, clay figure, display card, and Author's Note work together as a unified author event presentation; Author's Note is personal, specific, and genuinely reflective | Display includes all required components; Author's Note addresses the required elements thoughtfully | Display is mostly complete; Author's Note is present but brief or vague | Display is missing key components; Author's Note is absent or only one sentence |
| Text-Image Integration (RL.7.7) | Can clearly articulate how the visual and written elements of the project complement each other and where each medium does something the other cannot; reflection demonstrates genuine insight into multimodal storytelling | Demonstrates understanding of how text and image work together; can give specific examples from own project | Understands that text and image are both part of the story but cannot clearly explain how they interact | Treats text and image as separate, unrelated components; no evident understanding of multimodal integration |