155 pages

English

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Leveled Texts for Classic Fiction , livre ebook

Shell Education - Stephanie Paris

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155 pages

English

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A propos
Informations
Extrait

Description

Unveil the mysteries of literature using leveled texts! Support your differentiated instruction with this book featuring passages from 15 different classic works including such titles as: The Hound of the Baskervilles, Penny Nichols and the Mystery of the Lost Key, and The Red House Mystery. This resource is perfect for close reading or small-group instruction because each selection is written at four different reading levels and includes a focus on setting, character, plot, or language usage. These texts can support students'' vocabulary development, improve writing skills, foster engagement, and promote creative thinking. Symbols placed in the lower corner of each page represent the reading level range and are designed to help teachers differentiate instruction. Comprehension questions are also provided to complement each reading level.

Informations

Publié par	Shell Education
Date de parution	01 janvier 2013
Nombre de lectures	0
EAN13	9781433384028
Langue	English
Poids de l'ouvrage	51 Mo

Informations légales : prix de location à la page 0,2000€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Mystery

Collected and Leveled by Stephanie Paris

Contributing Author

Wendy Conklin, M.S.

Image Credits

All images Shutterstock

Publishing Credits

Dona Herweck Rice,EditorinChiefErickson,; Robin Production Director; Lee Aucoin,Creative Director; Timothy J. Bradley,Illustration Manager; Sara Johnson, M.S.Ed.,Senior Editor; Evelyn Garcia,Associate Education Editor; Grace Alba,Designer; Corinne Burton, M.A.Ed.,Publisher

The classroom teacher may reproduce copies of materials in this book for classroom use only. The reproduction of any part for an entire school or school system is strictly prohibited. No part of this publication may be transmitted, stored, or recorded in any form without written permission from the publisher.

#50985—Leveled Texts for Classic Fiction: Mystery

Table of Contents

What Is Fiction?. . . . . . . . . . . . . . . . . . . . . 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Importance of Using Fiction. . . . . . . . . . . . . . . . . . . . . . . . 6. . . . . . . . . . . . . . . . . . Elements of Fiction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 A Closer Look at Mystery. . . . . . . . . . . . . . . . . . . . . . . 12. . . . . . . . . . . . . . . . . . . . . . . . . Leveled Texts to Differentiate Instruction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Teaching Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 How to Use This Book. . . . . . . . . . . . . . . . . . . . . . 23. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Correlation to Standards. . . . . . . . . . . . . . . . . . . . . . . 27. . . . . . . . . . . . . . . . . . . . . . . . . . Setting Passages . . . . . . . . . . . . . . . . . . . . . . . 31. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Hound of the Baskervilles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 The Circular Staircase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 The Blue Ghost Mystery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Character Passages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 The Adventure of the Blue Carbuncle55. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Secret Adversary63. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Mysterious Affair at Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Penny Nichols and the Knob Hill Mystery79. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Plot Passages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Penny Nichols Finds a Clue87. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Penny Nichols and the Mystery of the Lost Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 The Secret Adversary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103 The Man with the Twisted Lip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Language Usage Passages. . . . . . . . . . . . . . . . . . . . . . . 119. . . . . . . . . . . . . . . . . . . . . . . . The Scarlet Lake Mystery119. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Red House Mystery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127 The Thirtynine Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 Ruth Fielding of the Red Mill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143 References Cited. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Digital Resources. . . . . . . . . . . . . . . . . . . . . 152. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

#50985—Leveled Texts for Classic Fiction: Mystery

WhatIsFiction?

Fiction is the work of imaginative narration. In other words, it is something that is made, as opposed to something that has happened or something that is discovered. It helps bring our imaginations to life, since it offers an escape into a world where everything happens for a reason—nothing is by chance. Fiction includes three main elements: plot (sequence), character, and setting (place).

Each event occurs in a logical order, and somehow, the conict is resolved. Fiction promises a resolution in the end, and so the reader waits for resolution as the characters change, grow, and survive experiences. We are drawn to ction because it is very close to the story of our lives. Fiction suggests that our own stories will have meaning and a resolution in the end. Perhaps that might be the reason why we love ction—it delivers what it promises.

Fiction compels its readers to care about the characters whether they are loyal friends or conniving enemies. Readers dream about the characters and mourn their heartaches. Readers might feel that they know a ctional character’s story intimately because he or she reminds them of a friend or family member. Additionally, the place described in the story might feel like a real place the reader has visited or would like to visit.

Fiction vs. Nonction

Fiction is literature that stems from the imagination and includes genres such as mystery, adventure, fairy tales, and fantasy. Fiction can include facts, but the story is not true in its entirety. Facts are often exaggerated or manipulated to suit an author’s intent for the story. Realistic ction uses plausible characters and storylines, but the people do not really exist and/ or the events narrated did not ever really take place. In addition, ction is descriptive, elaborate, and designed to entertain. It allows readers to make their own interpretations based on the text.

Nonction includes a wide variety of writing styles that deal exclusively with real events, people, places, and things such as biographies, cookbooks, historical records, and scientic reports. Nonction is literature based on facts or perceived facts. In literature form, nonction deals with events that have actually taken place and relies on existing facts. Nonction writing is entirely fact-based. It states only enough to establish a fact or idea and is meant to be informative. Nonction is typically direct, clear, and simple in its message. Despite the differences, both ction and nonction have a benet and purpose for all readers.

#50985—Leveled Texts for Classic Fiction: Mystery

The Importance of Using Fiction

Reading ction has many benets: It stimulates the imagination, promotes creative thinking, increases vocabulary, and improves writing skills. However, “students often hold negative attitudes about reading because of dull textbooks or being forced to read” (Bean 2000).

Fiction books can stimulate imagination. It is easy to get carried away with the character Percy Jackson as he battles the gods inThe Lightning Thief(Riordan 2005). Readers can visualize what the author depicts. Researcher Keith Oatley (2009) states that ction allows individuals to stimulate the minds of others in a sense of expanding on how characters might be feeling and what they might be thinking. When one reads ction, one cannot help but visualize the nonexistent characters and places of the story. Lisa Zunshine (2006) has emphasized that ction allows readers to engage in a theory-of-mind ability that helps them practice what the characters experience.

Since the work of ction is indirect, it requires analysis if one is to get beyond the surface of the story. On the surface, one can viewMoby Dick(Melville 1851) as an adventure story about a man hunting a whale. On closer examination and interpretation, the novel might be seen as a portrayal of good and evil. When a reader examines, interprets, and analyzes a work of ction, he or she is promoting creative thinking. Creativity is a priceless commodity, as it facilitates problem solving, inventions, and creations of all kinds, and promotes personal satisfaction as well.

Reading ction also helps readers build their vocabularies. Readers cannot help but learn a myriad of new words in Lemony Snicket’sA Series of Unfortunate Events(1999). Word knowledge and reading comprehension go hand in hand. In fact, “vocabulary knowledge is one of the best predictors of reading achievement” (Richek 2005). Further, “vocabulary knowledge promotes reading uency, boosts reading comprehension, improves academic achievement, and enhances thinking and communication” (Bromley 2004). Most researchers believe that students have the ability to add between 2,000 to 3,000 new words each school year, and by fth grade, that number can be as high as 10,000 new words in their reading alone (Nagy and Anderson 1984). By exposing students to a variety of reading selections, educators can encourage students to promote the vocabulary growth that they need to be successful.

Finally, reading ctional text has a strong impact on students’ ability as writers. According to Gay Su Pinnell (1988), “As children read and write, they make the connections that form their basic understandings about both….There is ample evidence to suggest that the processes are inseparable and that teachers should examine pedagogy in the light of these interrelationships.” Many of the elements students encounter while reading ction can transition into their writing abilities.

#50985—Leveled Texts for Classic Fiction: Mystery

The Importance of Using Fiction (cont.)

Text Complexity

Text complexity refers to reading and comprehending various texts with increasing complexity as students progress through school and within their reading development. The Common Core State Standards (2010) state that “by the time they [students] complete the core, students must be able to read and comprehend independently and prociently the kinds of complex texts commonly found in college and careers.” In other words, by the time students complete high school, they must be able to read and comprehend highly complex texts, so students must consistently increase the level of complexity tackled at each grade level. Text complexity relies on the following combination of quantitative and qualitative factors:

Word Frequency

Sentence Length

Word Length

Text Length

Text Cohesion

Quantitative Factors

This is how often a particular word appears in the text. If an unfamiliar high-frequency word appears in a text, chances are the student will have a difcult time understanding the meaning of the text.

Long sentences and sentences with embedded clauses require a lot from a young reader.

This is the number of syllables in a word. Longer words are not by denition hard to read, but certainly can be for young readers.

This refers to the number of words within the text passage.

This is the overall structure of the text. A high-cohesion text guides readers by signaling relationships among sentences through repetition and concrete language. A low-cohesion text does not have such support.

#50985—Leveled Texts for Classic Fiction: Mystery

The Importance of Using Fiction (cont.)

Level of Meaning or Purpose of Text Structure

Language Convention and Clarity Knowledge Demands

Qualitative Factors This refers to the objective and/or purpose for reading.

Texts that display low complexity are known for their simple structure. Texts that display high complexity are known for disruptions to predictable understandings. Texts that deviate from contemporary use of English tend to be more challenging to interpret. This refers to the background knowledge students are expected to have prior to reading a text. Texts that require students to possess a certain amount of previous knowledge are more complex than those that assume students have no prior knowledge.

(Adapted from the National Governors Association Center for Best Practices and Council of Chief State School Ofcers 2010)

The use of qualitative and quantitative measures to assess text complexity is demonstrated in the expectation that educators possess the ability to match the appropriate texts to the appropriate students. The passages inLeveled Texts for Classic Fiction: Mysteryvary in text complexity and will provide leveled versions of classic complex texts so that educators can scaffold students’ comprehension of these texts. Educators can choose passages for students to read based on the reading level as well as the qualitative and quantitative complexity factors in order to nd texts that are “just right” instructionally.

Genres of Fiction

There are many different ction genres. TheLeveled Texts for Classic Fictionseries focuses on the following genres: adventure, fantasy and science ction, mystery, historical ction, mythology, humor, and Shakespeare.

Adventurestories transport readers to exotic places like deserted islands, treacherous mountains, and the high seas. This genre is dominated by fast-paced action. The plot often focuses on a hero’s quest and features a posse that helps him or her achieve the goal. The story confronts the protagonist with events that disrupt his or her normal life and puts the character in danger. The story involves exploring and conquering the unknown accompanied by much physical action, excitement, and risk. The experience changes the protagonist in many ways.

#50985—Leveled Texts for Classic Fiction: Mystery

The Importance of Using Fiction (cont.)

Fantasy and science ctionFantasy, like adventure, involves quests orare closely related. journeys that the hero must undertake. Within fantasy, magic and the supernatural are central and are used to suggest universal truths. Events happen outside the laws that govern our universe. Science ction also operates outside of the laws of physics but typically takes place in the future, space, another world, or an alternate dimension. Technology plays a strong role in this genre. Both science ﬁction and fantasy open up possibilities (such as living in outer space and talking to animals) because the boundaries of the real world cannot conﬁne the story.Ideas are often expressed using symbols.

Mysterycontains intriguing characters with suspenseful plots and can often feel very realistic. The story revolves around a problem or puzzle to solve:Who did it? What is it? How did it happen? Something is unknown, or a crime needs to be solved. Authors give readers clues to the solution in a mystery, but they also distract the reader by intentionally misleading them.

Historical ctionfocuses on a time period from the past with the intent of offering insight into what it was like to live during that time. This genre incorporates historical research into the stories to make them feel believable. However, much of the story is ctionalized, whether it is conversations or characters. Often, these stories reveal that concerns from the past are still concerns. Historical ction centers on historical events, periods, or gures.

Mythsare collections of sacred stories from ancient societies. Myths are ways to explain questions about the creation of the world, the gods, and human life. For example, mythological stories often explain why natural events like storms or oods occur or how the world and living things came to be in existence. Myths can be lled with adventures conict, between humans, and gods with extraordinary powers. These gods possess emotions and personality traits that are similar to humans.

Humorcan include parody, joke books, spoofs, and twisted tales, among others. Humorous stories are written with the intent of being light-hearted and fun in order to make people laugh and to entertain. Often, these stories are written with satire and dry wit. Humorous stories also can have a very serious or dark side, but the ways in which the characters react and handle the situations make them humorous.

Shakespeare’s playscan be classied in three genres: comedy, tragedy, and history. Shakespeare wrote his plays during the late 1500s and early 1600s, and performed many of them in the famous Globe Theater in London, England. Within each play is not just one coherent story but also a set of two or three stories that can be described as “plays within a play.” His plays offer multiple perspectives and contradictions to make the stories rich and interesting. Shakespeare is noted for his ability to bring thoughts to life. He used his imagination to adapt stories, history, and other plays to entertain his audiences.

#50985—Leveled Texts for Classic Fiction: Mystery