Name: Salina Salway

Name: Salina Salway

Lesson Title: Story Mapping

Date/Duration: 3rd March 2010/ 100 minutes (two 50 minute periods)

Lesson Overview: In this lesson students will become acquainted with the novel, the Pale Horseman. They will also learn the elements of a story, (title, characters, setting, plot, resolution and themes) by identifying these elements in the Pale Horseman.

Lesson Rationale: This lesson will prepare students to write their short story by introducing them to the components of a short story. Short stories are composed of many different parts. These are the plot, characters, setting etc. This lesson will make students aware of these components that they are expected to have in their own short stories.

This lesson also acquaints the students with the novel that will prepare them for further discussions and lessons on the novel. It builds students knowledge on the topic and will become their prior knowledge for future lessons. They will learn the material better as they are already acquainted with the information.

Lesson Objectives:

Students will be able to:

·  identify the elements of a story

·  create an illustrated story line

·  summarize the plot of the Pale Horseman

Sunshine State Standards:

LA.910.2.2.3: The student will organize information to show understanding or relationships among facts, ideas, and events (e.g., representing key points within text through charting, mapping, paraphrasing, summarizing, comparing, contrasting, or outlining).

LA.910.5.2.2: The student will research and organize information for oral communication appropriate for the occasion, audience, and purpose (e.g., class discussions, entertaining, informative, persuasive, or technical presentations).

Instructional Resources and Lesson Materials Needed:

·  copies of a history story frame

·  a copy of Little Red Riding Hood

·  copies of the short story, For Kosovo

Lesson Sequence

Introduction/Lead-in/Focus:

Day 1

5 minutes

·  To begin class, ask students what some of their favorite stories are. Choose one of the most popular ones (assuming that you know it) and ask them questions that help them identify the elements of a story such as, who are the characters and what is the conflict in the novel. After having done this, ask the students if anyone knows what these things (characters, conflict etc.) are collectively called.

Explicit Instruction

20 minutes

·  Display the history story frame on a poster board or using some other medium. Now using the familiar children’s tale, Little Red Riding Hood, demonstrate to the class how to complete a history story frame. Talk aloud the steps as you are doing them.

·  Now pass out the copies of “For Kosovo” and explain to the students that you are going to do the same thing for this story together. Allow them 5 minutes to read the story; then as a class, complete a history story frame for it. For additional instructions on how to fill out the story frame look at the handout, “How Do These Frames & Maps Work?” The questions in this handout should be displayed for students to see as it might be helpful in generating ideas.

25 minutes

·  Now separate the students into six groups and assign each group a chapter (Use the following chapters: 3, 6, 7,9,12 and 13. They highlight the main points of the novel.) from the novel. Each group is to read their assigned chapter, complete a history story frame for it and a summary. Students should be prepared to share their work next class.

Day 2

30 minutes

·  Begin class with the group presentations. After everyone has presented construct a history story frame together. This should get the students fairly acquainted with the text. Allow students 5 minutes per presentation.

20 minutes

·  The students will now cooperatively create an illustrated storyline. Let students know that they will create illustrations for two chapters as a group that will then be compiled to create a complete illustrated storyline for the novel.

·  Now, demonstrate to the students how to create an illustration, using chapter 1 as an example. Have finished illustrations as an example. (Don’t worry if your not an artist, many of your students aren’t either and that might give them confidence.) Students must highlight the main points with their illustrations. For example, chapter one must have an illustration of Ubba’s death; the confrontation between Odda, the Younger and Uhtred in the makeshift church; Uhtred doing penance and the killing of Oswald.

·  Then divide the students into new groups or have them remain in their same groups and have them create an illustration for their assigned chapters. The illustrations will be put together to create a complete storyline.

·  Assign each group 2 of the remaining chapters. The students may also write a sentence for each illustration if they wish to do so but it is not required. End the lesson by having each group post their work up. The illustrations must be in chronological order and will give students an overview of the plot.

Assessment and Assessment Criteria

Students’ history story frame and illustrated storyline will be assessed to for the students learning. Students will also assess each other on their group participation as both activities in this lesson plan involve group work. The assessments for students history story frame, illustrated storyline and group involvement are included below.

History Story Frame Checklist

·  Have all sections completed correctly

·  Have an adequate summary of the chapter

·  Give an oral presentation of their work which is organized and understandable

Illustrated Storyline Checklist

·  Highlights the key components of the chapter

·  Organized in chronological order

·  Illustrations are neat and creative

Lesson Plan Extensions or Modification Ideas

Alternate Ending: Students may write up an alternate ending to the novel. They will need to incorporate the elements of a story that they have been taught in this lesson. This way students will get to practice what the have been taught. They should also illustrate the main points of their alternate ending.

Lesson Plan Forms/Handouts

How Do These Frames & Maps Work?

Characters: Who are the people who were involved in this? Which ones played major roles, and which ones were minor?

Setting: Where and when did this event take place? Over what period of time?

Plot: This section is broken into three parts:

Problem/Goal: What set events in motion? What problem arose, or what were the key players after?

Events/Episodes: This is to get students to focus on summarizing...they focus on the key steps or events that capture the progress of the situation.

Resolution/Outcome: How was the problem solved? Was the goal attained? (It's probably pretty important to stress to students that they should go back to the problem or goal they identified in order to say how it was resolved or whether it was met.)

Theme: I think of this as the "so what?" of a history frame or story map. You might think of it as the universal truth or revelation, the larger meaning or importance, the moral, the "what we've learned from this," and so on. A wonderful teacher named Donna Feary suggested to me that the theme ought to be the way that a student relates the event to his own life, and we decided that perhaps the Theme can be divided into two components:

·  a universal truth

·  a personal truth

Seems like a good idea!

Taken from: http://www.readingquest.org/strat/storymaps.html

Short Story: For Kosovo! by M. Stanley Bubien

"The date, tell me the date!"

"T-t-today," I said, hands clasped behind my back, hiding their trembling, as I concentrated upon the words. "Today i-is---"

"Not today," our leader barked, "damn you! The da---" he fell into a fit of coughing, leaning front-wise upon the table, though it hardly bent under his form. His aid, and second-in-command, moved to intervene, but he waved the assistance aside.

We waited until the tremors in his body slackened, and he dropped, breathing wetly, into a chair.

"Thehhh..." he rasped in an attempt at speech, but shook his head. Clearing his throat several times, yet to no avail, he finally gestured to his aid.

"Our instructions for you are clear," the aid lifted a pistol from the table. "You will be first in the line."

"F-f-f-first?" I stammered. "Are-are you s-s-sure?"

"Absolutely! You are our most capable shot, and the automobile will pass first position the fastest."

I nodded.

"Freedom for Kosovo!" the aid stated solemnly as he presented the firearm.

"F-f-f-reedom." I replied, unclasping my hands slowly, but before bringing them forward, clenching my fingers into a fist. Yet that simply caused the whole of my forearm to tremble as I reached toward the pistol. I closed my eyes as I grasped it, but another palm, cold and clammy, laid itself upon mine.

"Unity!" our leader said, having found voice once more. "Won with the blood of their 'fearless leader.' Pah!" He spat on the floor. "Our hands are already blackened, but blood will pave our path. Are you up to this task?"

I stiffened, for to express doubt now would certainly mean my own death. "A l-l-land united for u-u-s and all Serbians, its r-r-rightful heirs." I said, though my hand still shook.

At that moment, his grip tightened, the firmest grasp he had ever thrown upon me. "Ah! You are for the task! These aggressions will not abide, and you, my friend, you will have the first opportunity to free our land from such treacheries.

"The instant that he dies, it will be for Kosovo. And his people---all people!---will know the Serbian wrath cannot be contained."

The three of us stood there at that moment, each with a palm surrounding the pistol.

"The date, I ask again. The date?" our leader said in a tone that had earned him his post, though in contrast, he had become so pale, he seemed to fill the darkened room with a glow.

"Twenty-eighth, June," I stated with perfect annunciation.

"In the year of our Lord 1914," our leader continued. "Then, the Archduke Ferdinand, heir to the Austrian throne will fall."

And as one voice we repeated our rallying cry. "For Kosovo! Union or death!"

They released the pistol, leaving it fully in my possession. They had finished with me, this I knew, and made my exit. I fled to the street, and falling against an alleyway wall, I held my hand before me. Through the moonless night I could not see it, but I knew that, still, it shook as though it would never stop.

Taken from: http://www.storybytes.com/view-stories/1999/for-kosovo.html