Students are prompted to write a reflective journal entry in which they select a meaningful event, describe what happened, explain how it felt, and state what they learned. The Parent Plan lists skills to "narrate an expressive account" using a coherent organizing structure and to use remembered feelings and specific details. The Character Development timeline and the daily reading prompts require students to record and track changes in characters, supporting practice in sequencing events and recognizing narrative development.

Students are prompted to "Narrate an expressive account" in the listed skills and to use the "Character Timeline" to record words and phrases describing Sophie and Cody, which supports producing narrative responses. In Activity 1, students complete first-person prompts (e.g., "The scariest thing I remember...", "I'll never forget the day...") and are instructed to write them out in their unique voice, which requires recounting personal experiences. Students are also asked to "read Chapters 8-14 and answer the following questions in complete sentences," including questions that require explanation and use of examples from the text.

Students are asked to write a paragraph describing a favorite natural place using similes and personification (Option 2), and to create similes and personifying sentences about the ocean (Option 1). Students write one or two sentences for each character in a scenario and produce quotes and thoughts in the characters' distinct voices (Activity 1), practicing character voice and descriptive phrasing. Several activities require students to compose original sentences that use figurative language and to match or generate dialogue reflective of point of view.

Students practice adding descriptive detail by writing sentences that include prepositional phrases (Options 1 and 2 require prepositional phrases with modifiers and two-modifier phrases). Students write short descriptive notes for a postcard about a visit to England or Ireland, and they complete character timelines for chapters 51–60, which requires identifying and ordering events. Students answer comprehension questions in complete sentences about character changes, showing attention to events and their effects.

Students are asked to define a personal narrative on the test, showing they identify the genre. Students write sentences that reflect the voice of three main characters and expand sentences with modifiers and prepositional phrases, practicing narrative voice and descriptive detail. Students create a Character's Changes three-flap mini book with beginning/middle/end sentences and an Important Events accordion that requires selecting and ordering four main events, practicing sequencing of events. Students write two descriptive sentences using adjectives and modifiers in the Character Tree and explain why a quoted passage or artifact is meaningful, practicing use of relevant descriptive details.

Students are asked to "create a postcard" from Russia or China and "write a note about where you are and what you are experiencing on your visit," which requires imaginative, first-person description of an experience. The postcard task directs students to look up images and information and to be creative, supporting use of descriptive detail. Option 1 asks students to write a reflection about music and compare performances, which involves written expression about personal experience and responses.

Students are asked in Activity 2 to write a 4-6 sentence postcard 'pretending that you are there visiting and writing a friend,' answering where they are, what the feature is, why it is important, and what makes it interesting. Students are directed to look up images and information online to inform their postcard and to draw the feature on the postcard, encouraging descriptive detail. The task requires first-person perspective and concise descriptive writing about a geographical feature.

Students are asked to keep a daily "Learning Log" in which they record and illustrate discoveries Doon and Lina make and to categorize and label pages for different types of discoveries, which requires writing about events and observations over time. The activity directs students to add entries each day after reading through chapters and to group similar items, encouraging sustained, organized written entries. Option 2 asks students to write seven sentences about Sparks, providing additional practice composing sentences about events and setting.

Students are asked to take a position for or against the people of Ember or Sparks and compose three arguments supporting that position, with space to record each argument and supporting details on the Student Activity Page. Students must support their arguments with evidence, anticipate opposing points, and read their arguments aloud, then identify which statements are facts and which are opinions. The Parent Plan and Skills sections explicitly list stating a clear position, supporting it with organized evidence, and anticipating counterarguments as student tasks.

Students are asked to create a "Landforms Journal" by imagining they are a landform and writing 10 short journal entries across time (year, decade, or century), with an example provided (Grand Canyon). The journal directions prompt students to describe how the landform "feels and looks" each entry, which requires descriptive detail. The flip-book option and instructions to order images from least- to most-eroded require students to show progressive change over time, reinforcing event sequencing.

Students are asked to write a puppet show script that includes 4–8 child characters who talk about their environment and how it has changed, with example dialogue that recounts an eruption and its effects. Students must write and rehearse scripts (Part 2: Write a script; Part 4: Practice your show) and create characters and narratives about past events in their environment. Option 2 also asks students to write a script for a video interview (pretending to be a rock scientist), and Option 1 asks students to write slide descriptions to narrate each slide.

The lesson explicitly tells students they will write their own short story at the end of the unit. Activity 4 asks students to record phrases and sentences that describe setting and then create a drawing or painting based on those textual descriptions, which practices using descriptive details. Activity 1 instructs students on correcting run-on sentences and avoiding sentence-level errors to apply in their own writing. Activity 3 has students research Mars and create an acrostic poem, providing a creative writing task tied to content-area knowledge.

The Parent Plan lists the skill "Narrate an expressive account that uses remembered feelings and specific details," explicitly indicating a writing/narration goal. Activity 3 (Descriptive Language) has students locate sensory phrases from Tito's point of view and then write sensory descriptions of their home, practicing relevant descriptive details. Activity 4's RAFT asks students to create a poem or song in remembrance of Pompeii, which requires composing a memorial piece and drawing on historical/imagined content.

Students are asked in Option 2 to narrate the meeting from a third-person omniscient point of view and to produce at least three lines of dialogue for each character, which requires them to produce narrative voice and integrate dialogue. Multiple activities require students to write, correct, or invent dialogue while practicing placement of tags, punctuation, and varied dialogue verbs, so students practice narrative technique and dialogue as a storytelling device. Students also read model short stories ("A White Heron" and "The Widow Carey's Chickens") that provide narrative examples to emulate.

Students complete a plot diagram that asks them to identify the narrator's point of view, main events, problem, climax, and solution. Students fill an Elements of a Short Story organizer to name the main character, cite actions that show character traits, record when and where the story takes place, and list words and phrases the author uses to describe the setting. The Story Conflict & Theme organizer has students identify conflict types and support a theme with specific examples. The lesson also states that students will be asked to write their own short story the next day.

Students are asked to plan and write a short narrative (Activity 5) with a specified length (600–1000 words) and to follow a plot diagram (Activity 2) that identifies problem, rising action, climax, falling action, and resolution. The rubric and activities require use of narrative devices and descriptive detail (rubric: sensory details, concrete language; parent plan: use dialogue and suspense) and direct students to choose and keep a consistent point of view. Students complete character- and setting-focused worksheets (Activity 3) and a Theme & Conflict organizer (Activity 4) that require identifying central incidents, conflicts, and actions that reveal character traits, all supporting well-structured event sequences and effective techniques.

Students are asked to imagine operating a time-machine travel agency and to write two travel brochures describing life in the antebellum North and South, including a cover image, a short general description, economy paragraphs, and occupations lists. Students create and add dated event cards to a unit-long Civil War timeline, taping pages together and placing events in chronological order. The Population Map and timeline activities require students to organize information visually and sequence historical events by date.

Students are asked in Activity 2 to reread chapters and "write an imagined diary entry from either a Union or Confederate soldier," with prompts to describe the day's journey, the camp, what they miss from home, food complaints, and hopes and fears. The activity directs students to pay attention to images of soldiers in camp (pages 76-85) and to use those details when imagining and composing their diary entry. The Pack Your Haversack and Camp Life activities ask students to imagine and reflect on daily routines and the items soldiers carried, reinforcing perspective-taking for the narrative.

The lesson's Option 2 asks students to write an outline for a historical-fiction short story about a family's transition from slavery to freedom and to use a "Plot Diagram: The Meaning of Freedom" organizer. The plot diagram includes labeled sections for characters, setting, problem, rising action, climax, falling action, and solution and directs students to identify major events and structure the narrative. The lesson also instructs students to use historical research to make details accurate, to explain the story verbally to a parent, and suggests extending the outline into a completed short story and illustrations.

Students plan and write a short first-person "living wax museum" speech (30 seconds to one minute) that tells who they are, when they lived, and about their experience of the Civil War. Students plan and write scripts or narration for a documentary film, including planning segments that may reenact experiences or include voice-over narration. Students create exhibit cards that require them to describe items and write short explanations (2–3 sentences) about significance, which may include brief narrative details about historical experiences.

Activity 2 instructs students to choose a short passage (1-2 paragraphs) and rewrite it from Pink's first-person point of view or from an omniscient third-person narrator, specifying use of "I" vs. "he/she." The parent notes for Activity 2 tell students to include what Pink is seeing and thinking and to imagine himself in Pink's shoes, which directs students to produce descriptive details and narrative voice. The activity explicitly asks students to consider how the narrator changes the telling of events, engaging them in narrative perspective and retelling of events from a character's viewpoint.

The lesson includes Activity 2 Option 2 that asks students to "Select an event from the book and make up a story about the event, or select a character and make up a story the character might have told," and it directs students to "Add details to the event to make it entertaining" and to keep the story period-appropriate. The prompt gives specific story ideas (e.g., a story Shem Suggs might have told, or Carlotta King's story) and tells students the story should be based on events in the book, which requires creating a narrative perspective tied to the historical text.

Students are asked in Activity 2 to write a short paragraph in their journal describing a time when conflict between themselves and another person led to negative consequences, which requires recounting a personal experience. The Parent Plan skills list asks students to identify the speaker and recognize first- and third-person narration, which relates to narrative perspective. Students also practice summarizing or paraphrasing reading in the earlier Reading and Questions section, reinforcing organizing events in a coherent way.

Students are asked to write about Einstein 'as if you are writing a biography' and instructed 'Don't just make a list of facts; add feelings and a personal touch to your answers,' which prompts use of descriptive detail and voice. The lesson also directs students to 'add events to your timeline' and to list 'Important Moments in His Life,' which asks students to identify and record events in sequence. Option 2 asks students to provide examples of how the author fulfilled biography elements, reinforcing attention to descriptive elements and characterization.

Students read and analyze Roosevelt's Dec. 8, 1941 speech and answer interpretive questions that ask them to explain meaning and intent (e.g., "What do you think..." and "Why do you think...?"). Students analyze WWII posters for persuasive words, images, and intended actions and then plan and create their own posters, identifying audience, objectives, emotions/ideals, and powerful slogans. Students complete rationing and reflection activities that require them to track data and explain how rationing would affect family choices.

Students are asked to write and perform a radio news broadcast using vocabulary from the unit (Activity 3) and the Radio Script Vocabulary page requires students to use all selected terms and at least two historical events in their script. Students may plan and record a public service announcement (Option 2, Activity 4) that requires a greeting, an explanation of need, and a closing slogan, which prompts them to organize material into a short, sequenced script. The parent notes explicitly state that the child will be writing and performing a "coherent, meaningful narrative" for the radio broadcast.

Students are assigned the role of summarizer and must write a four- or five-sentence summary of Chapters 1 and 2, engaging with narrative content and condensing events. Students are asked to imagine occupation of their own country and may write a "Before and After Occupation" poem that describes significant changes, which asks them to create an imagined scenario about events and consequences. Parent-facing skill statements tell students to use elements of the writing process to compose text and to revise drafts to clarify meaning and enhance style, indicating students will practice composing and revising their writing.

Students are asked to create a postcard from Ellen or a coded message from Annemarie, which requires composing a first-person message that describes events and circumstances. Students must describe settings in detail and explain what role the setting plays in the conflict, which prompts use of relevant descriptive details. Students also practice editing and revision by applying proofreading marks to their writing and correcting paragraphs on the activity page.

Students are asked to list two of Annemarie's traits and provide examples from the text, requiring them to make a claim about character and cite textual evidence. Students must decide which version of Little Red Riding Hood is most similar to Annemarie's story and complete a graphic organizer showing similarities and differences to support that decision. Students are prompted to answer discussion questions (e.g., whether Henrik's definition of 'brave' is accurate) that require them to form and defend an opinion with reasons.

The lesson asks students to imagine taking a sip of ‘Everlasting Life' and to write a paragraph describing what life is like ten years in the future, asking how life has changed and whether they are glad or regretful. Activity 2 Option 1 has students list pros and cons and reflect on how experiences and interactions influence their decision, which prompts consideration of consequences over time. The writing tasks require students to develop an imagined scenario and produce written responses about that scenario.

Students are asked to write one paragraph about the Fosters' home and one about the Tucks' home using the author's descriptions and to put quotations around any words or phrases taken directly from the text. The task then asks students to decide which family they would rather be part of and explain why, requiring them to state a preference and support it. Option 2 directs students to locate words and phrases in the text that juxtapose the two homes and record those textual examples on paper.

Students are asked to write a "Before-and-After Poem" that requires them to compose written contrasts of life before and after the Civil Rights Movement, using alternating "Before" and "After" sections to describe feelings and experiences. Students complete open-response questions about whether the Voting Rights Act meant the Movement was successful and name ways activists continued creating change, requiring short written explanations about real people and events. Students may also complete the "A Lifetime of Activism" organizer or create a researched flyer, both of which require students to produce written plans or informational text about actions and historical or contemporary examples.

Students plan and write scripted mock interviews (write five questions and prepare a script of answers to perform as the person studied). Students create narrative products such as an illustrated book based on a short transcribed interview story, and they may produce a dramatic performance that reenacts interview stories or events. The rubric and criteria require that "Text or spoken/recorded script is clear and well-written," and students must present their scripted pieces aloud to an audience.

The Book Report rubric asks students to craft engaging, descriptive sentences, use strong verbs, and 'show rather than tell,' which targets use of relevant descriptive details. The Organizing Ideas prompts require students to introduce the setting and time, develop main characters, describe the major problem or struggle, and recount suspenseful or exciting events, which aligns with recounting events and developing scenes. Activity 3 directs students to write multi-sentence paragraphs (topic sentence, body, concluding sentence) focused on bringing characters to life and convincing a reader, which practices narrative-style description and voice.

Students analyze the author's descriptive sleigh-ride passage and extract words and phrases for each of the five senses (Activity 1). Students plan and produce a descriptive paragraph about a vivid childhood memory using a senses chart and create a painting or sketch to match (Activity 2). The lesson repeatedly asks students to identify and evaluate sensory details, imagery, and figurative language and to use precise verbs, nouns, and adjectives to create vivid description (Parent Plan Skills).

Students are asked to plan and write a 3–5 page final chapter that describes the fate of Jonas and Gabriel, using a Plot Flowchart to organize events in chronological order. Students must use descriptive language, imagery, and symbolism, focus on fewer events with detailed sensory description, and write in active voice. The Final Chapter Rubric explicitly evaluates whether the chapter uses descriptive language/imagery, follows the plot diagram, stays true to Jonas' character, and engages the reader.

Activity 4 asks students to select Mexico or Canada, draw a geographical feature on a postcard, and "write a note about where you are and what you are experiencing on your visit," encouraging creative, first-person description. The activity directs students to look up images and information online to inform their postcard note, which supports inclusion of relevant descriptive details. The postcard task explicitly requires students to produce a piece of imaginative writing about an experience in a geographic location.

Students are asked to practice writing and punctuating dialogue in multiple exercises (Activity 1 Part 2 and the student activity pages) where they correct missing quotation marks and commas and write an imagined conversation on a long train ride. The activities require students to produce original dialogue (Option 2) between characters such as Alfonso, Miguel, and Esperanza and to check paragraph formation and punctuation. The lesson also directs students to analyze how dialogue reveals character and moves the plot, asking them to identify tags and explain why an author uses them.

Students practice writing dialogue in Option 2 by composing a realistic conversation between Esperanza and her mother with each character speaking at least three times and without using the word "said." Students practice refining dialogue verbs in Activity 1 by underlining instances of "said" and replacing them with more descriptive verbs that fit the situation. Students also describe settings and map character movements as a Travel Tracer, recording scene locations and explaining how setting influences the story's conflict, which develops descriptive detail for scenes.

Students practice ordering sentences into logical sequences and combining them with suggested transition words in Activity 1, which requires them to sequence events and choose transitions like first, next, afterward, and finally. Students write an "I Am" poem about Esperanza in Activity 2, which asks them to produce descriptive lines about her feelings, senses, and circumstances. Students also record connections in a journal as the Connector, relating events in the book to their own life or history, which requires them to reflect on events and their relevance.

Students are asked to write a movie trailer script that highlights main events, characters, obstacles, and major themes, which requires organizing events and creating purposeful dialogue. Students are instructed to write a readers' theater script (12–15 lines) including actions in parentheses and to transform a scene from the novel into performable dialogue. Students also draft dialogue reenacting a favorite scene and later prepare and perform their scripts, practicing narrative event selection and dramatized presentation.

Students read a model narrative poem, "The Microscope," about Anton Leeuwenhoek, giving them an example of narrative poetry. Students are instructed to write their own narrative poem about nature or science and to plan who the main character will be, what will happen, what problem/conflict the character will face, and the event sequence (start, middle, end). Students are prompted to avoid prose and to use poetic license, and parents are asked to discuss the character, plot, and to encourage reading the poem aloud.

Students are asked to write their own lyric poem (Activity 1) and to apply poetic devices such as metaphor, alliteration, end rhyme, imagery, and personification. Students are asked to rewrite a poem using the author's structure (Activity 3, Option 2), and to save and present their poem for a final project and family performance. The activities require students to produce original written work and to revise or imitate structure from existing poems.

The lesson includes a specific Narrative Poem activity (Part 8) in which students are instructed to copy their narrative poem onto the fourth layer of their layered book, indicating that students produce and present narrative poetry. The end-of-unit poetry test includes an item asking which poem "tells a story with plot, setting, and characters," requiring students to identify narrative poems. The unit also directs students to compose a variety of poems (Skills section) and lists a "Narrative Poem (Lesson 6)" among the poem types students create.

Students are asked in Activity 1 to imagine being a Mesoamerican child and to draw and write first-person descriptions using prompts (living environment, parental roles, chores, agriculture, diet, recreation), which requires composing descriptive, perspective-based writing. Students answer targeted short-response questions (e.g., describe leaders, roles for men and women, farming methods) that require organizing factual information into coherent answers. In Activity 2 students label levels of the Incan society pyramid and match descriptions, practicing organization of information into hierarchical structure.

Students are asked to write a Time Machine travel journal with prompts such as "Today I visited the _____ in _____," "When the doors to the time machine first opened, I saw:", and sections describing a city, countryside, government, religion, warriors, and festivals. The student activity pages provide sequenced pages (arrival, city, countryside, interviews, reactions, drawing) that guide students to create an organized narrative of events and experiences. A rubric criterion explicitly assesses "Thoughtful writing of journal entries about a selected culture," and students are directed to review and edit their entries for accuracy, detail, creativity, and neatness.

Students are asked to write a lyric (narrative) poem retelling either a family event or an American historical event in 3–4 verses (Option 1 and Option 2). A student organizer titled "Writing a Lyric Poem for a Minstrel" directs students to divide the story into 3–4 events (stanzas) and to jot down ideas, rhymes, and word-pictures. The instructions explicitly tell students to use figurative language (similes/metaphors/personification/imagery) and to focus on highlights when retelling a historical event.

Students are asked to retell the Incan creation myth aloud to their family, practicing the voice of a storyteller and using two visual aids to enhance the presentation. Students complete an activity that requires underlining time- and sequence-related transition words and phrases in an Aztec myth, with an answer key listing words like before, then, next, and finally. Parent-plan skills explicitly direct students to use transitional words and phrases that link paragraphs and demonstrate an understanding of transitions' organizational function.

Students are asked in Activity 2 Option 2 to write a poem focused on the Spanish conquest of the Inca—one allowed form is a ballad, which tells a story—and to include at least three examples of figurative language. In Activity 1 students must write a short book review that includes a brief plot summary and are directed to use time and cause-effect transitions to show the sequence of events. Both tasks require students to organize events and use literary devices in their writing.

Students are prompted to expand simple sentences by adding adjectives and adverbs (How? When? Where?) and to 'paint' predicates and subjects, practicing descriptive detail at the word and phrase level. Students pick and refine a single word to make it more vivid and perform finishing touches to refine wording, spelling, and punctuation. The activities ask students to produce final, more complex sentences related to a story, applying the added details to context from a text.

Students are asked to write a five-paragraph narrative in first person as Cusi, planning three key events for beginning, middle, and end and composing an introduction, body paragraphs, and a conclusion that describes what Cusi learned and how he changed. The activities require use of sensory details, dialogue, descriptive language, and chronology; the rubric and graphic organizers prompt point-of-view consistency, narrative flow, transitional words/phrases, sentence variation, and descriptive detail. Students draft, revise using an editing-symbols chart, apply a "painting a sentence" technique to expand weaker sentences, and produce a final copy after conferencing and rubric-based revision.

Students read multiple Egyptian myths and are asked to choose one to focus on and use the "Egyptian Myths" activity page to organize major events. In Option 2, students divide the chosen myth into 5–6 scenes, sketch page layouts, and "write out the myth in your own words" on each illustrated page to create a picture book. In Option 1, students organize key points into boxes or note cards, practice telling the story aloud, and perform a memorized, customized retelling for an audience.

The skills list and activities ask students to "construct an explanation based on evidence" for how a water source supports organisms and for how human activities impact water systems, and to "communicate scientific information clearly through models, explanations, and a presentation." In Part 2 students collect and analyze a water sample, record observations of contamination, and write about possible solutions. In Part 4 students prepare and deliver a presentation that requires them to explain their findings and cite evidence (e.g., observations from the sample and ecosystem model).

Students identify and record Steinbeck's strong verbs and vivid adjectives from the second paragraph of Chapter 2 using a Verbs and Adjectives chart. Students correct and edit sentences for grammar and word choice and compare examples that show versus tell (e.g., "The girl ate her lunch" vs. "The girl gobbled down her lunch"). Students then use Steinbeck's descriptive language to produce either a drawing or a poem that recreates the ocean-floor imagery.

Students are asked to read the last chapter and answer questions in complete sentences about plot outcomes and character decisions, requiring brief written responses about events. Students are asked to "write two sentences of your own related to the book" (one with a participial phrase and one with an infinitive phrase) and Option 2 asks students to "write a few sentences... about what happened in the chapter, including three verbal phrases," which requires generating sentences about events. Students are also asked to add examples of effective stylistic devices from the final chapter to a log, prompting attention to language choices in the text.

Students identify a moral lesson from The Pearl and plan a parable around that theme. Students complete a story map that requires them to outline setting, characters (protagonist/antagonist/secondary), and a clearly sequenced plot (introduction, rising action, climax, falling action). Students write a 500–700 word first draft that develops characters through actions, thoughts, and dialogue, experiment with figurative language and speech patterns, and follow rubric criteria that assess theme, plot clarity, character development, voice, and conventions. Students revise using proofreading symbols and produce a typed final copy, demonstrating attention to spelling, punctuation, capitalization, and paragraphing.

Students are asked to "write and rehearse a script" for a favorite scene (Scene Memory), which requires them to recreate events and dialogue. Students must create a 2-minute "Quick Script" that summarizes the book and "focus[es] on key events, characters, and the book's message," requiring them to select and sequence events. The Book Cover task asks students to illustrate a significant moment and include a summary, which has students identify and retell an important event.

Students are asked in Option 2 to write a letter home describing a three-week tour of West Africa, with explicit instructions to include an opening greeting, a short paragraph for each of two countries, and a closing paragraph. The letter prompt requires students to describe each country's climate, terrain, natural resources and agriculture, one way people have adapted or altered the environment, and the country's economy and how it connects to the environment. Additionally, Activity 2 asks students to find, practice, and retell a West African folktale—making note cards and conveying emotions—which gives students practice in organizing and presenting a narrative orally.

Students are prompted to "Describe what happened during the experiment from start to finish" and to "Record your observations in your journal," which requires recounting a real event sequence. In the data-analysis activity, students must "Explain Your Model" and "Support Your Prediction" by writing reasons based on observed patterns over five days. The activities ask students to produce coherent explanations that recount procedures and outcomes (e.g., answers to the collapsing-can questions and the five-day weather narrative).

Students plan and organize a personal narrative using the 5 W's prewriting chart and a story-elements organizer that asks them to identify setting, characters, introduction, rising action, climax, falling action, and themes. Students analyze writing craft by locating three to five lines they consider good writing and by explaining why those passages are effective. Students review a detailed rubric that requires a consistent first-person point of view, vivid word choice, figurative language, effective transitions, developed characters and dialogue, varied sentence structure, and a clear problem and solution.

Students are asked to write a personal narrative and to begin drafting, with explicit guidance to focus on expressing ideas and to skip concerns about grammar initially. Students receive specific narrative technique instruction: start the story strong, use dialogue, include sensory details, and use figurative language. The skills list and parent notes direct students to create a coherent organizing structure, orient the reader to scene and characters, establish a point of view, and communicate the importance or consequences of actions. Students are given a clear product requirement (400–500 words) and practical drafting strategies (e.g., write in sections, record ideas, skip lines for revision).

Students are asked to continue drafting a personal narrative (Activity 1) and to use a Personal Narrative Rubric from Lesson 6 to guide revision. The Revision Checklist explicitly asks students to check organization elements (plot diagram, introduction, logical plot, conclusion), content elements (use of dialogue, showing characters' choices, actions, and struggles, detailed problem), and style elements (first-person perspective where applicable, figurative language, strong verbs, variation in sentence length). Revision guidance gives students concrete strategies (put draft aside, read aloud, focus on specific parts) for improving narrative structure, point of view, and descriptive detail.

Students recreate character interactions as a Dialogue Designer by writing a 6–10 line conversation with correct quotation marks, practicing use of dialogue as a narrative technique. Students write a 4–6 sentence postcard from Nhamo that asks them to describe what she endured, how she survived, and how she changed, requiring relevant descriptive details about experience. Students design a storyboard of 6 important scenes, drawing each scene and writing a sentence describing the action to show event sequence and Nhamo's character development. Students are also prompted to continue revising a personal narrative using a revision checklist, indicating practice with refining narrative structure and technique.

Students are asked to retell the Rainbow Serpent story by creating a picture book, artwork, song, or dramatization and to make a list of the key parts of the story before presenting it. Students may use artwork and explanations of Aboriginal symbols as inspiration for their retelling, and they are instructed to share their creative presentation with family. Students also complete guided comparison pages that prompt them to describe the sequence of creation events and how humans were made, which requires recounting the story's events in order.

Students are asked to introduce and present a story from Aboriginal Australians (Part I) and may use dramatic storytelling, a skit, puppetry, or a spoken poem as formats, with a planning page prompting them to choose a story and how they will present it. The Part II planning page organizes Australian history into three columns (arrival of first humans, arrival of Europeans, how Australia changed over time), which has students arrange events in a sequence. The final project requires brief introductory remarks for each part, and students may write a poem or other spoken-word piece to present.

Students are asked to "write a brief description of what happens in this chapter" on the Events of the Journey page and to draw the path to the other side of the Misty Mountains, which requires recounting chapter events in sequence. Students are directed to record examples of foreshadowing and to analyze figurative language, and the riddle-writing activities require students to personify objects and use descriptive senses and synonyms in their own writing.

Students are asked to create a new Middle-earth race, draw and model the creature, and "write a descriptive paragraph" explaining human and animal characteristics and special abilities while using figurative language. The Parent Plan lists skills including "Write descriptive text in the fantasy genre" and "Use figurative language in own writing." Students also map the journey and "briefly describe what happened in this chapter on the 'Events of the Journey' page," which asks them to record events and note foreshadowing or flashback.

Students write one or two sentences describing what happened at the Elvenking's Hall and how Bilbo and the dwarves escaped, which asks them to sequence events on a setting map. Students complete a "Problems and Solutions" page and a "Problem Solving" chart in which they explain a problem, brainstorm solutions, list pluses and minuses, and state a best solution. Students are asked (in the Parent Plan skills) to construct essays/presentations that respond to a problem by proposing a solution with relevant details, and to present the problem-solving process they used.

Students are asked to trace the journey and record chapter numbers and to write a short description of the events in Chapters 10 and 11, which requires sequencing and summarizing narrative events. Students are prompted to record any examples of flashback or foreshadowing on a chart, which directs them to identify narrative devices. Students must also answer comprehension questions in complete sentences, practicing clear sentence-level expression.

Students are instructed to write a personal literary response that states opinions and supports those opinions with examples from the text (direct quotes, events, figurative language), using present tense and minimizing first-person "I" statements. Students complete a prewriting web and a structured outline that directs an introduction, three body paragraphs (each with topic sentences and supporting details), and a conclusion. Students are assessed with a rubric that explicitly evaluates Textual Evidence, Interpretation, Writing Style, Grammar and Comprehension and are guided through drafting, revising (editing symbols), and producing a final typed copy.

Students are asked to write a puppet-show script that retells three stories (folktales or historical events) — one from each of India, China, and Japan — and to think about the action and dialogue when writing each retelling. The Puppet Show Planning pages require students to summarize each story, list characters and props, and outline how they will present the stories, supporting event sequencing and planning. The rubric evaluates that "stories from India, China, and Japan are retold" and that "the script of the show is clear and well-written," and students are instructed to rehearse and perform their scripts.

Students are asked to "imagine what will happen over the course of several years" and "Explain in a paragraph how this island might gradually be repopulated," which requires composing an imagined sequence of events. Students must create or find at least five images that represent stages of primary succession and add captions, requiring them to order events and add descriptive information. Step 3 asks students to find images showing volcanic eruptions that remove organisms, reinforcing the sequencing of events that change the setting over time.

The lesson requires students to produce a short story or poem that follows a carbon atom through an ecosystem, explicitly instructing third-person narration and that the carbon "start and end in the same place." The student-facing checklist and comic option list required events (photosynthesis/carbon fixation, formation of glucose/cellulose, consumer consumption, respiration, decomposition, and carbon trapping), and a narrative example is provided to model sequencing and content. The activity asks students to show relationships among organisms in a food chain and to use the carbon-atom perspective, which directs students to organize events into a coherent journey.

The lesson's Option 2 includes an optional extension that asks students to "write a short story set in eastern Siberia," offering prompts such as "a day in the life of a Yakut boy or girl" and specifying inclusion of at least three basic needs (water, food, transportation, clothing, or housing). The activity explicitly tells students they can write a short paragraph or a more extensive story, indicating they will produce a narrative account related to historical/cultural content.

Students are asked to create two postcards from countries in the Indian subcontinent, drawing an image for the front and writing on the back "as if writing to a friend" about what they had seen there, which requires composing a brief first-person account of experiences. The parent plan reiterates that students will "write a note to a friend describing something that he might have seen or done" and may include image source citation, indicating an explicit writing task tied to place, culture, and environment. Students also maintain a current events journal for the Middle East, which involves extended writing about events (though framed as informational reporting).

Students are asked to write a poem that details the steps involved in cultivating rice and may use haiku form, which requires attention to line structure and concise descriptive language. Students can also create an illustrated flow chart in which they must "figure out the series of steps" for growing rice and write short descriptions for each step, arranging boxes in order. Students complete comparison charts (Ancient and Modern China/Japan) that require them to research and write at least one detail for categories such as government, economy, and culture.

Students are asked to write first-person diary entries in Activity 4, Option 1, imagining being an Athenian male citizen and a U.S. citizen and explaining how they would exercise rights regarding a proposed law. Students add timeline cards in Activity 5, placing events (e.g., Battle of Marathon, Founding of Sparta) in chronological order, which has them sequence historical events. The marathon poster and optional creative advertisement tasks ask students to compose creative, perspective-based writing pieces.

Students are asked to write a monologue in the "Voices of the Greek Gods" activity where they introduce a god or goddess, include associated concepts and symbols, and "This is my story" asks for a retelling from that character's point of view. Students may perform the monologue, rehearsing dramatic delivery and using a costume and props, which practices narrative voice and presentation. Students also complete "A Kid's Day in Ancient Greece," where they plan a full-day schedule with chronological time slots and must add at least one historically accurate detail per activity, requiring sequencing of events and descriptive detail.

Students are asked in Activity 2, Option 1 to write a brief diary entry from the point of view of Augustus after he came to power in 27 BC. The prompt requires students to recount how Augustus became emperor, state a lesson he might have learned from Julius Caesar, and describe qualities Rome might need in a leader after civil war. The parent plan elaborates expected content for the diary entry, indicating students will outline historical events and reflect on leadership lessons.

Students are asked to write fictional letters between two Roman friends (Option 1) that describe homes, daily life, and scenes from a day, encouraging historically accurate descriptive details. Students can also write a scripted conversation (Option 3) in which two characters interact and reveal what they like, dislike, and do, with each character speaking multiple times. Both options require students to create imagined experiences or events from characters' perspectives and to convey details about those experiences.

Students are asked in Activity 3 Option 1 to write a 6–8 sentence diary entry from the point of view of either a poor Roman/slave or a Roman official, describing what they learned about Christianity and how they might feel. The activity directs students to adopt a first-person perspective and to consider an alternate viewpoint after writing. Activity 4 asks students to add dated cards to a timeline, requiring students to place events (e.g., Division of the Roman Empire, Fall of the Western Roman Empire) in chronological order.

The Main Course includes an option that asks students to "imagine being able to travel back... then write a fictional account of the meetings," which requires composing an imagined narrative of events. The Desserts list asks for diary entries written from the perspective of people in Athens, Sparta, or Rome, which are first-person narrative tasks. The rubric evaluates the Main Course as a written product, noting organization, grammar, and accuracy, indicating students must produce a coherent written piece.

Students are asked to "Create a story that reflects the object's velocity" on the Visual Velocity 1 activity page and to "Decide what this mystery object could be and tell a story" in the answer key guidance, which require turning graph information into a narrative. Visual Velocity 2 asks students to label points A–H and match them to descriptions of a bicyclist's journey, which has students sequence events that correspond to graph features. The Picturing Acceleration activity asks students to interpret graphs and answer questions that connect motion data to real-world scenarios, supporting brief explanatory or narrative descriptions.

Students are asked to create three short comic strips that represent adventures illustrating Newton's laws, with instructions and suggested ideas for scenarios (spaceship, varying gravity, kicking a ball). Students have access to comic-strip templates with six panels and labeled lines (e.g., "Newton's First Law Story") to draft narrative sequences for each law. Students also read sample comics and story summaries (Second and Third Law examples) that model event sequences and show cause-effect actions related to physical concepts.

Students are asked to pick a myth and write a short play (Activity 4) that tells the story in 18–25 lines with dialogue and stage notes, and to follow a provided script-writing format link. The directions explicitly tell students to reveal the story through characters' actions and dialogue (not a narrator) and to consider characters and props, which requires planning event sequence and dramatic technique. Students also write a descriptive paragraph about life without fire (Activity 2) and perform sentence-level editing (Activity 1), practicing descriptive detail and sentence craft.

Students are told they will be asked to write their own myth for a final project and are directed to "write your own myth that follows these conventions." The student activity page prompts students to identify narrative elements (a hero, gods, a monster, a problem, a maiden, helpers, and items that aid the hero), and the answer key names characters and assistance (Athena, Hermes, nymphs, winged sandals, etc.). The parent/skills sections explicitly list "Describe conventions in myths and epic tales" and ask students to synthesize ideas across texts.

Students are asked to write a 60–90 second script for a movie trailer and design a movie poster (Activity 1, Option 2), which requires them to create a concise narrative promoting the myth of Hercules. Students may also write a mythical song that "tells the myth in a musical way" (Activity 6, Option 3) or produce a wordless picture book that tells a myth through a sequence of images (Activity 6, Option 1). The comic-book activity asks students to reimagine Hercules as a modern comic-book character and design a cover, connecting to narrative characterization and genre conventions (Activity 1, Option 1).

The activity asks students to summarize/retell the Trojan War using cut-out characters, a constructed Trojan Horse, and props, and to begin the retelling at a specified paragraph (p.180) and end at a specified point (p.184). Students are given a choice of narrative perspective (perform as a play with dialogue or narrate in third person), are told to pick the most important events to include, may quote from the book, and are encouraged to use engaging language and sound effects. The instructions allow students to write out an entire summary, take notes, or make a diagram to remember sequence and to practice the retelling before presentation.

Students plan and create an original retelling of a Greek myth using prewriting prompts that ask them to identify conventions, theme, characters, and plot. They draft a 400–500 word story with a clear beginning, middle, and end, including a problem and solution, dialogue, character and setting development, and use of imagery and figurative language. The rubric and instructions require varied sentence length, a consistent point of view, effective transitions, and revision/editing using proofreading symbols and peer/parent conferences. Students also study exemplar retellings (e.g., "Theo and the Maze" and Icarus at the Edge of Time) and must revise and publish a final copy guided by the rubric.

The lesson's Option 2 asks students to write an imagined diary entry or letter from the point of view of a person in two different medieval social classes, with at least one paragraph for each person. Prompts require students to explain the relationship between the two people, state which has more power, and describe how they are connected through duties and obligations in the feudal system. The prompt also asks students to consider how each person might think about the other, encouraging perspective-taking and imagined voices.

Students are asked to write a diary entry in Option 2 in which they imagine being a page turning squire and describe duties, training, memorable moments, future hopes and fears — a first-person imagined narrative. In Option 1 students role-play and talk through scenarios as a chivalrous knight, explaining decisions and actions in specific situations, which practices creating and presenting a persona and event-based responses. The diary task explicitly requires reflective, sequential content (what they have learned, what duties will be) that asks students to organize events and expectations in narrative form.

Students are asked in Activity 1 to imagine being a 15-year-old novice or an oblate and to write a short diary entry (two 3–4 sentence paragraphs) using descriptions in the reading (pages 105–108). The prompt directs students to describe specific aspects of daily monastic life (e.g., initiation, silence, scriptorium work), which requires them to produce an imagined, discipline-specific narrative grounded in the provided historical content.

Students are asked to write 2–3 paragraph scripts for three historical characters and to present a short 3–5 minute introductory speech for each role, which requires creating a voice and describing experiences. Planning pages prompt students to include 'a day in his or her life,' home and surroundings, interactions with others, and important events (Crusades, plague), which supports narrative content. The map option also asks students to verbally walk family members through features and explain connections, which involves organizing and recounting events or routines.

Students are asked in Activity 3, Option 1 to create a mystery story at least two paragraphs long that identifies the actual item, the time of day or type of light casting the shadow, and what the shadow is mistaken for. Activity 3 explicitly directs students to use their shadow observations and drawings as the basis for the written story and to type the story on the computer. Earlier prompts ask students to record observations and complete shadow-study pages that supply content for the narrative.

Students are asked to write 3–4 sentence commentaries "from the perspective" of a knight, a lord, and a peasant, which requires adopting character voice and point of view. Students are also instructed to read their commentaries aloud using an appropriate tone and to give each character dramatic flair. The Parent Plan lists "Analyze different forms of point of view," indicating students will practice recognizing and using different perspectives.

Students practice sentence elaboration by rewriting two provided sentences in their journals, explicitly adding adjectives, adverbs, prepositional phrases, and descriptive clauses (Activity 1). Students write short explanatory sentences about the relationship between peasants and domesticated animals (Option 1) or draw animals and write examples of how each influenced medieval economics (Option 2). Students also identify and select powerful or important passages to read aloud as Literary Luminaries, which asks them to attend to interesting or powerful textual details.

Students read multiple monologues and are asked to write summaries of each character's monologue (1–2 sentences and in some pages 5–15 sentences). Students identify and record examples of the author's descriptive language for each character and note relationships among characters. Students practice sentence-level craft that supports narrative writing: parallel structure, tense consistency, and examining tense shifts in narrators (including a task to look back at pages 17–18 and discuss tense shifts).

Students write 3–5 short sentences describing an item, then re-examine the item to add sensory details and combine sentences for variety (Activity 1). Students read monologues and fill out a chart, identifying which monologues are first-person and discussing how perspective and narrator voice function in the texts (Reading And Questions; Activity 2). Students locate books in first- and third-person, determine limited vs. omniscient narration, and explain how point of view relates to perspective and theme (Activity 2; Parent Plan Skills).

Students are asked to produce narratives such as "Write a short story about being a medieval queen" and "Describe a day in the life of a squire," and to write and perform monologues from medieval characters. Students create stories using a Story Cube template labeled with theme, plot, setting, and character and are instructed to generate a creative story from six Middle Ages vocabulary words. Students practice descriptive writing (Day 3: "practice descriptive writing... paint at least two sentences") and identify narrative perspectives on the unit test (first person, third-person limited, third-person omniscient).

Students are asked to write a diary entry in Option 1 in the voice of a sailor on the Pinta that includes a date, at least three reasons for joining the voyage, at least three reasons for discontent, and a clear decision, which requires developing an imagined experience with sequence and perspective. In Option 2 students plan, rehearse, and perform a short skit that includes dialogue, stage directions, props, and an implied sequence of events (debate about turning back and then sighting land). Both activities require students to produce a first‑person narrative or dramatized scene that conveys motivations, feelings, and events over time.

Students are asked to read pages 36–51 and use that content to prepare arguments for and against Columbus Day, writing three arguments with supporting facts for each side. Students write a short opening statement that clearly states a position and a closing statement that summarizes and persuades, and they prepare rebuttals to respond to opponents. Students then present arguments and rebuttals in a formal debate sequence, practicing organization of claims, use of evidence, and counter-argumentation.

Students are asked in Activity 3, Option 1 to imagine they are Nicolaus Copernicus and to plan and deliver a 2–3 minute first-person introduction that includes background, interests, and important findings. In Activity 3, Option 2 students create a scrapbook showing three places, events, or ideas from Copernicus's life and write short explanations of why each was important. Both options require students to organize biographical information and to produce a written or spoken piece from Copernicus's perspective.

Students complete a "Biography Planning" worksheet with sections for early life, interests and major discoveries, and a space for "Why I think this person is important," which requires them to organize factual, chronological information about a historical figure. Students prepare and deliver a multi-part presentation that requires an introduction with biographical information and an explanation of historical significance, and the rubric specifically assesses "Introduction of an Age of Discovery explorer with biographical information." Option 2 for the unit test asks students to write a well-organized five- to six-paragraph essay and provides explicit tips on outlining, introductions, paragraph focus, and conclusions, supporting practice in organizing written work.

Activity 1, Option 2 instructs students to create a short story about an imaginary visit to a chosen moon, explicitly asking them to include what the moon looks like as characters pass it or see it overhead. The directions require inclusion of factual details from the book about things being heavier/lighter, the composition of the moon's atmosphere, and geographic features. Parent prompts ask to discuss the story and to be sure atmospheric conditions and geographic features were included.

Students are asked in Activity 2 to choose a persuasion technique and write or ad-lib a 30-second message from the flower trying to convince the little prince to return. The Parent Plan specifies that the message should attempt to use techniques such as flattery, dares, promises, or glittering generalities. The wrapping up asks students to perform the message and to identify which technique(s) they used.

Students are asked to create a poem or drawing with an artist's description 'from the narrator to the fox' explaining the little prince's departure and how he felt about the fox, which requires recounting events and emotions. The Student Activity Page prompts students to answer questions that require describing perspectives, motivations, and what the narrator saw when the little prince left, and to list two ways the narrator knows the little prince made it home. Reading comprehension questions also require students to write complete-sentence answers about how the prince gives the narrator a gift of the stars and how he intends to get home.

Students are asked in Activity 1 to write a poem or short story using at least four Shakespearean phrases, which requires them to produce a creative/imagined text. The Skills section states that students will "write responses to literature," indicating a writing product is expected. The Wrapping Up asks students to read their poem or short story aloud and identify the Shakespearean phrases they used.

Students are asked to write imagined diary entries (4–6 sentences) from the point of view of a Privy Council member and from a Jesuit priest, which require first-person narrative perspective and inclusion of specific events, fears, and goals. Students are also asked to create a short (2–3 minute) monologue or a short play/puppet show based on a historical incident (the girl lying to soldiers), which requires sequencing actions and dialogue for performance. The activities specify audience/performance and ask students to describe specific events and concerns, prompting them to develop scenes or narrated episodes.

Students are asked to write a paragraph about an inventor and the invention (Part 1), which requires composing informational text about a historical technological design. Students are prompted in Parent Plan discussion questions to rate inventions as beneficial or harmful and explain why, which asks them to make value judgments and give reasons. Part 3 offers an option to write a paragraph about the rationale for the device or the tests and trials associated with its development, which asks students to explain purposes and supporting details.

Students are asked to describe an event from the book in a large writing box and to take notes on two different people's perspectives (Student Activity Page). Students may write index-card reminders of the actual event, the names and personalities of two characters, and what each would say, and then act out those perspectives (Option 1). Students may also write a description of the event and compose headlines from each person's point of view (Option 2).

Students are asked to "identify issues related to a historical event in Europe and give basic arguments for and against that issue" (Skills list), which requires them to state positions and reasons. Students answer guided questions in the "Soviet History" activity and record challenges faced by former Soviet republics, requiring use of sources and written responses. Students participate in Activity 5 discussions (comparing unicameral/bicameral and party systems) and may create a campaign poster, prompting them to state preferences and support them with reasons.

Students are asked to write three 2-3 sentence postcards from Greece that describe parts of the landscape, culture, history, and economy for different audiences, which requires composing brief first-person messages. In Option 2, students are asked to write a short diary entry from the perspective of a modern Greek child that answers questions about daily life and contrasts it with ancient Athens, which requires first-person narrative writing. The postcards and diary prompt students to produce descriptive, experience-based writing in a personal voice.

Students are asked to write a formal letter or email to a business, organization, or government office that voices a concern, offers a suggestion, or asks for information related to energy use (Part 4). Templates for a business letter and business email are provided, and the parent plan lists required components such as a clear statement of purpose, an introduction of the idea, a transition to why the problem matters, and a proposal addressing renewable/nonrenewable sources, cost, and efficiency. The unit also asks students to write a paragraph choosing an energy source and to use terms like advantage, disadvantage, renewable, nonrenewable, environment, and economy, which prompts students to explain and justify a choice.

Students are asked to write lines and a stanza using vocabulary words in the "Syllables to Stanzas" activity and to write a poem using poetic techniques in the Parent Plan skills. Students mark stressed and unstressed syllables and count feet in poem excerpts, then apply that knowledge when composing their own lines. Students are given an option (Option 2) that explicitly requires composing original lines and marking their meter.

Students are asked to "write a conversation between two people or personified characters as a poem," which requires composing dialogue and choosing topics. They read and compare Stevie Smith's "Not Waving But Drowning" with Browning's monologue, noting differences in rhyme, meter, and speaker perspective. Students are directed to consider graphic elements (line position, line length, capitalization) and to draft and revise their poem placement to make speakers clear. The Parent Plan lists skills including "Write a poem using graphic elements" and "Analyze how the author's choice and use of a genre shapes the meaning."

Students are asked to "write a short (2-3 paragraph) mock diary entry or letter" from the point of view of an American Indian participant describing an interaction with English visitors, which requires crafting a first-person narrative of an event. The activity includes prompts that ask students to consider participants' thoughts and feelings, encouraging use of perspective, descriptive detail, and reconstruction of events. Additional readings (e.g., Equiano, Pocahontas) provide source material of lived experiences that students must synthesize into their writing.

Students read first-person accounts (Joseph Plumb Martin, Deborah Sampson, Sybil Ludington, etc.) and are asked to write a letter in the voice of a soldier explaining why they signed up, daily life, a specific scene of battle, and hopes for the future. The Option 2 writing task requires students to adopt a point of view (as Joseph Plumb Martin, Deborah Sampson, or a comrade) and to describe a specific event (a battle scene) that conveys experience to an audience (their family).

Students develop a character and plan parts of a first-person account (overview of daily life, brief colony history, reasons for/against independence, description of military life and at least one battle, and reflections on returning home). Students are asked to research details, organize their presentation into sequenced topics (about five minutes on each), practice delivery, and use a prop or image to illustrate ideas. Rubrics evaluate perspective, clarity/confidence, overview of daily life, specific event description, and the believability and accuracy of the character's account.

Activity 2 (Option 2) asks students to read John Adams's diary and the Abigail Adams chapter and then "write a short paragraph describing the events of the Boston Tea Party from the point of view of either a participant or a witness," instructing them to be descriptive and to use active voice. Activity 2 (Option 1) asks students to write a well-formed paragraph about Paul Revere's engraving, supporting an argument with 2–3 specific examples and ending with a concluding idea, again emphasizing primarily active voice. The wrapping-up and parent-plan directions reiterate that students should produce a well-organized, descriptive first-person account based on primary-source research.

Students are asked to summarize a scene from Chapters 15–16 and then rewrite that scene in a different genre (historical fiction, mystery, or science fiction), explicitly allowing them to embellish details and invent dialogue (Option 1). Students may alternatively retell the chosen scene as a graphic novel (Option 2), using sequential panels and combining art and text to create a narrated account. The lesson includes a full example of a rewritten mystery paragraph that models narrative voice, dialogue, sensory detail, and a sequence of events.

Students read original correspondence between Abigail Adams and Thomas Jefferson and are instructed to "fill in this diary from Abigail Adams as if she had just received or written the letter you selected," including date, topics, description of Jefferson, and the role of the friendship. Students are also asked to reimagine the book in different genres and write new titles and descriptions, which requires creating narrative voice and summary content based on historical events and characters.

Students are instructed to create and write a one-person play in first person (as Abigail or John Adams), planning three separate scenes that each portray specific historical events, influences, or effects. They must write short scripts (about one page per scene, 2–3 minutes each), include stage notes and actions, and provide dates and explanations for events, with at least one direct quotation from a primary source. The provided rubric and sample play require inclusion of three critical events, accurate historical information, dialogue/lines delivery, and a coherent sequence of scenes.

Students are asked in Activity 4 to prepare a 30-second Anti-Federalist speech that summarizes an argument against ratification and includes a specific example of how the Constitution might cause problems. In Activity 2 students research two Federalists and two Anti-Federalists using internet or library sources and answer questions that ask them to draw generalizations about beliefs. In Activity 3 students analyze Federalist No. 10 and brainstorm modern factions, identifying policies those factions would support and who would oppose them, which requires constructing claims about policy effects.

Activity 2 asks students to "imagine what might be different in America if the case had been decided differently" and the Landmark Cases Student Activity Page prompts students to "Provide one example of a situation in which life would be different if this case had not been decided in the way that it was." Students are also instructed to research a case, record the year, basis, court decision, and precedent, and write answers in a mini-book they assemble.

Students are explicitly taught the claim–evidence–justification framework and asked to categorize statements as claim, evidence, or justification in Activity 1. Students write an initial claim, collect observations and experimental data, and then write a justification connecting their evidence to the claim in Activity 2. The student activity pages and parent guidance provide prompts and spaces for students to produce written claims, record evidence from experiments, and formulate justifications that accept or refute their original claim.

The optional extension asks students to "Imagine that you are a Corps of Discovery member writing a journal entry" and requires them to write about at least one new animal, the geography or plants seen, any people encountered, and what life is like for the Corps. Option 1 (Sacagawea) asks students to imagine and role-play a conversation as Sacagawea, prompting them to adopt a historical perspective and describe personal circumstances, interactions, and feelings. These tasks require students to produce imagined first-person accounts with descriptive details about events and people.

Students read primary and personal narratives (Day 2 Activity 3: Family Stories and John Burnett's account) and are asked to choose one event from a narrative to illustrate and to write a brief summary of the event and a sentence or two explaining what the personal account helped them understand. The lesson also offers an alternative in which students may write a song or poem that reflects the feelings of someone who traveled the Trail of Tears. Activity 4 asks students to imagine different 1830 perspectives and write whether they would support or oppose Indian removal and why.

Students are asked to create a 3–5 minute personal narrative monologue in first person (Activity 1) that requires them to explain where the character came from, why they headed west, the challenges they encountered, and what happened later in life. In Activity 2 Option 1, students must write a short letter from an imagined gold miner including reasons for coming, preparations for the trip, a brief description of panning for gold, observations of the mining camp, and an assessment of the decision to come. The lesson also provides a link to guidance on how to write a monologue and offers scaffolding (tables and summary charts) to help students organize their narrative content.

The lesson's Option 2: Creative Writing asks students to write a short (2-4 paragraph) response from specific perspectives (the photographer, someone in the image, a day in the life) or to write a poem about a landscape, which requires students to produce narrative or imaginative writing. The prompts ask students to tell the story of events surrounding the image and to describe what happened before and after the photograph, encouraging students to sequence events and provide descriptive detail. The image-based choices also require students to draw on observed image details (weather, plants, objects, people) as content for their writing.

Students are asked to create a storyboard that documents a fictional (but historically accurate) person's journey to the West, producing a series of panels with illustrations and text explaining each scene. Planning pages require specific, ordered panels (life before moving, journey and hardships, arrival and comparison of expectations vs. reality, and long-term outcomes), and the instructions note that panels can include short bits of writing or dialogue. The storyboard rubric evaluates clarity, historical plausibility, explanation of motivation, incorporation of historical context and government actions, and organization of text.

Students are asked to write a first-person memoir-style letter (Option 1) that requires them to describe a neighborhood, list at least two positive and two negative aspects of city life, and state an overall judgment, which prompts use of descriptive detail. Students are also asked to write a diary entry from the perspective of a mill girl (Activity 4, Option 1) of 8–10 sentences that must describe a typical day, working conditions, coworkers, likes/dislikes, and a response to a potential strike, which requires recounting events and conditions in sequence. Both tasks require students to produce imagined or perspective-driven narratives grounded in historical details from the readings.

Students are asked to plan and perform a first-person retelling of an historical escape-from-slavery account, including choosing an important event to recount, rehearsing the presentation, and using props and voice to convey emotion. The instructions prompt students to reread the source to avoid missing details and suggest writing notecards if helpful, which supports selecting relevant descriptive details. In the immigration option, students write a poem based on 19th-century images, practicing creative language and emotional expression.

Students are invited in the Life Application section to "make up your own tall tale about a fictional character with incredible qualities," which asks them to produce an imaginative narrative. Students are also given a creative writing option in Activity 1 (Option 2) to "write a Transcendentalist-inspired poem of your own," which practices composing original text and exploring voice and theme.

Students are asked to create a fictional diary entry or a description of a typical day for a northerner or southerner in Option 1, and to produce two daily schedules (slave/planter and northern factory worker) in Option 2. The unit test includes short-answer prompts that require students to "describe a day" in the life of a textile mill worker and to describe the life of a slave on a plantation, which requires narrative description and detail. The Planning Page and poster tasks ask students to write paragraphs about daily life and include detailed descriptions for their poster.

Students analyze multiple passages of dialogue (Miss Watson, Speaking French, and other excerpts) and answer focused questions about what the dialogue reveals about characters, how it propels action, and how it creates interest or humor. The Parent Plan explicitly lists skills: using narrative techniques such as dialogue, pacing, description, and reflection, and writing narratives that develop experiences/events with effective technique and descriptive details. Students complete planning charts (Event / Feeling Words / Dialogue and Descriptions, Character Feelings charts), brainstorm using the 5 W's and 1 H, and write a one-page narrative that must include dialogue and vivid description. Students also discuss and identify two examples of using dialogue to move action and two examples of showing rather than telling during the wrap-up.

Activity 3 directs students to write a one-page narrative and to use the provided Story Map graphic organizer that asks for characters, setting, plot, point of view, conflict, and resolution. The assignment requires students to choose a point of view, limit the story to one main event, and to include specific figurative techniques (irony, a pun, an oxymoron, an idiom, and hyperbole). The Parent Plan and Skills section explicitly list the writing goal: "Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences."

Students are asked to write a short, first-person letter to one of four historical figures (Option 1), requiring them to summarize the figure's position on slavery and state their own agreement or disagreement in 2–3 sentences. The prompt asks students to conduct additional research about the chosen individual and to organize the letter with an introduction, summary of the figure's role, reasons for agreement/disagreement, and a concluding sentence. Students also complete a timeline activity that has them place events in chronological order, giving some practice with sequencing historical events.

Students read and analyze primary-source inaugural addresses (Davis and Lincoln) and then complete the "Comparing Two Presidents" activity that asks them to choose which president would appeal to various people and "write a brief explanation" for each choice. Students are directed to summarize each paragraph of Davis's inaugural address in their own words on the note-taking pages, practicing paraphrase and identification of main ideas. The "Leadership" and discussion prompts ask students to explain how a president might lead militarily, politically, economically, and socially, which requires students to state positions and give reasons.

Students are asked in Activity 3 Option 1 to assume the role of Elisha Stockwell or Johnny Clem and deliver a dramatic retelling that includes at least two positives and two negatives of service and retells at least one vivid event from the young person's life. The directions tell students to talk as if they were the historical person and allow them to jot down note cards to use during their presentation. The assignment requires students to present advice and to describe a specific incident in some detail.

Students are asked to write a short letter home as a new recruit in the 54th Massachusetts that explains reasons for enlistment and includes concerns, fears, and hopes, and they are directed to use readings and online resources about the regiment. An alternative task asks students to imagine being a wounded soldier and write a short note to Susie King Taylor and design a care package, drawing on biographical reading about Taylor. The activities explicitly require first-person, historically grounded writing that incorporates details such as fears of capture, hopes for liberation, and motivations for enlisting.

Students complete Activity 2 by observing five agar samples, drawing results on the provided page, and "complete the Conclusion section ... and give a rationale for your answer using the evidence you have collected," which requires them to state a claim and support it with experimental evidence. Students answer open-response Question #2 asking whether William Harvey's statement is still true today and must justify their opinion. Students also arrange and recall historical fact cards in Activity 1 and respond to "Questions to Ponder," prompting them to form and explain reasoned responses about historical impacts.

Students are asked to write a 6–8 sentence journal entry from the perspective of a slave on the Underground Railroad (Activity 1, Option 2), which requires composing a first-person narrative of an experience. An alternative Option 1 asks students to write a short song or poem about the journey, which can function as a creative narrative. Students also read and analyze a passage that uses a flashback (Activity 5), identifying how that narrative technique reveals character history.

The Parent Plan explicitly lists narrative-writing skills, asking students to use precise words and phrases, relevant descriptive details, and sensory language, and to write biographies, autobiographies, short stories, or narratives that relate a clear, coherent incident. The "Showing Your Emotion" activity directs students to brainstorm sensory details, choose at least two verbs showing actions, and write a 4-5 sentence paragraph that shows (not names) a negative emotion using vivid adjectives and repeated verbs. The Douglass activity asks students to identify vivid adjectives and repeated verbs in a firsthand narrative, reinforcing use of descriptive language and verb repetition in persuasive, personal accounts.

Students are asked to write a poem from the perspective of an American slave (Option 1) using information learned from Elijah of Buxton and supplementary readings and artwork. Students experiment with tone by writing sentences that describe the same scenario in different tones, practicing word choice and expressive phrasing. Students edit given sentences for grammar, spelling, and punctuation, practicing precise language use.

Students are directed to write a 6–8 sentence narrative of a personal event in Activity 1 and are asked to use precise words and phrases, descriptive details, and sensory language to bring the experience alive. The Parent Plan Skills section explicitly lists using precise words, relevant descriptive details, and sensory language to capture action and convey experiences and events. A sample narrative is provided that models descriptive detail and a clear sequence of actions (descending steps, seeing the tree, opening gifts).

Students practice precise descriptive writing by producing 2–3 sentence descriptions of two household items and a feeling (including a required simile or metaphor). Students revise children's song lyrics to replace general words with more precise choices and write 2–3 sentences explaining the symbolism of a Play-Doh sculpture they create. Students also complete sentence-editing tasks that focus on word choice and sentence-level craft.

Students are asked in Option 2 to write the remainder of a play scene about a secret school for slave children, using the characters introduced and having characters explain why they risk so much to receive an education. The activity asks students to produce dialogue and to express motivations and hopes for the characters, and it suggests performing the scene with puppets or actors. The reading of Chapters 13 and 14 provides source material and context that students must use when composing their scene.

Students are asked in Option 2 to write a descriptive paragraph or create a book cover that explains the setting and character for a historical-fiction novel, which requires composing original written material about imagined experiences. Students are also instructed to pose five interview questions and write possible answers (Option 1), and to write 2–3 sentences explaining an allusion's origin and connection to the book on the Allusions activity page. Sentence editing exercises require students to correct grammar, spelling, and punctuation, practicing writing mechanics.

Students are asked to write a paragraph explaining their personal connection to Elijah of Buxton and to use specific examples from the book, engaging them in writing about a real experience and its impact. Students are prompted to 'use remembered feelings, select details that best illuminate the topic, and connect events to self/society,' which targets selection of descriptive details and personal reflection. Students complete a plot diagram that requires sequencing seven rising-action events and three falling-action events, which practices organizing events chronologically.

Students plan and outline their narratives using a plot diagram that requires identification of the main conflict, rising action (4–5 events), the climax, falling action (2–3 events), and resolution. Students are required to include at least one flashback, transition words/phrases, effective mood and tone, a symbol, a figure of speech, and two unit vocabulary words, and to write in first person. The rubric and activities have students draft, revise, and edit for organization, voice, word choice, and conventions, and explicitly require sequential organization and use of narrative techniques.

Students are asked to keep a Field Journal with date/time, location, weather, and detailed observations of living and nonliving components of an ecosystem, and to create a Visual Journal with sketches or photographs plus written descriptions. Students are asked to describe how at least one major geologic feature was formed and to explain why they chose images to represent a province. Students also produce a labeled state map and add biome names and descriptive notes.

Students are instructed in Option 1 to write a thank-you letter after a tour that must include at least two new things they learned and a comment about what they enjoyed, which requires them to describe a real experience. In Option 2 one suggested activity is for students to go to work with a parent or trusted adult and then write a journal entry that describes the experience, the nature of the job, and what they found interesting. Both tasks ask students to produce written accounts tied to real events they observed or participated in.

Students are asked to produce a marketing brochure (Activity 2) that requires persuasive language and reasons why customers would use animal cloning services. Students are asked to list pros and cons and discuss whether animal cloning should be legal (Activity 3), including making a decision and explaining their reasoning. Students read content about cloning (reading pages and linked resources) that they can use to inform their positions and explanations.

Students read two essays on human cloning and are prompted to record each author's main arguments and identify logical and rhetorical fallacies. The student activity page asks students to note authors' arguments, list specific fallacies, and reflect on the strengths and what would have strengthened each argument. In Activity 2, students generate claims using drawn fallacy cards to practice applying and recognizing different fallacies.

Students are instructed to choose a scene and turn it into a one-act play, writing dialogue and limiting the scene to 20–30 lines. They are asked to include setting, characters, action, and dialogue and to make protagonist/antagonist and conflict evident through words, movements, and facial expressions. Students must indicate stage directions, props, and lighting cues and are guided to use dialogue and physical action to convey mood and emotion.

Students read primary-source letters from migrants (Library of Congress links) and a biographical account (Charles Denby) that model personal perspectives on moving North. Students are instructed to write a short, two-paragraph letter from the point of view of an African-American migrant who has lived in Chicago for 3–4 months, explaining reasons for moving and comparing expectations with realities. The parent/teacher notes explicitly state that students may include details such as wages, discrimination, educational opportunities, and living conditions in their letters.

Students read first-person accounts ("Rose Cohen: First Day in a Sweatshop" and "Joseph Miliuaskas: Breaker Boy") and answer comprehension questions about those experiences. In Activity 3 students are asked to imagine being a young sweatshop worker, think through motivations, hours, conditions, and treatment, jot down ideas, and then role-play a conversation describing that experience. The role-play prompt asks students to describe what the job is like and why they took it, which engages perspective-taking and recounting an imagined experience.

Students are asked to write a one- or two-paragraph letter or speech in Activity 2 in which they "Imagine that you are an immigrant worker" or a union organizer or business owner and explain decisions and perspectives. In the Lewis Hine option, students are prompted to "imagine the life of the person in the image" and answer questions about what the person did for the rest of the day, prompting short imagined narratives. The photo-analysis pages also require students to describe people, settings, and events in detail, prompting descriptive writing about observed scenes.

Students are asked to evaluate and rank reasons for the U.S. entry into World War I and "explain the reasoning behind their order," which requires weighing evidence and making a persuasive judgment. Students must read a primary newspaper article about the Lusitania and write a short reaction from an American perspective and imagine a German response, practicing taking and defending viewpoints. Students create propaganda slogans or posters that require crafting persuasive messages aimed at influencing public behavior or opinion.

Students imagine a historical character and produce either a dramatic first-person presentation or a multi-page scrapbook that tells that character's life, using the Character Planning worksheet to record origin, reasons for migration, city life, work, discrimination, reform involvement, and reaction to World War I. Students create and use Dramatic Presentation index cards and practice delivering the character's life story aloud, including rehearsal and answering audience questions. Students assemble scrapbook pages in an ordered set (Coming to America; Home; Work; Reform; A World War Page), write at least one sentence per page summarizing the topic, and include artifacts and descriptive details to support those pages. The project rubrics assess historical plausibility, detail and thoughtfulness of planning, inclusion of specified items, and the student's ability to discuss and answer questions about the character's life.

Students are asked to plan and write their own fantasy story about an animal (Activity 2), including choosing an animal species and researching its physical characteristics and behaviors. Students must consult at least three sources and record notes on an Animal Research page, which supports incorporation of factual detail into their narratives. The materials also tell students to review the elements of fantasy writing from a prior lesson before writing.

The Parent Plan Skills explicitly list "Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences." Activity 2 (Character Planning) directs students to create 2–3 specific characters of the same species, name them, draw them, describe personality strengths and weaknesses, and record quotes. The lesson text notes students will develop a small cast of characters for a fantasy story and provides sample characters with descriptive traits and dialogue to model characterization.

Students are asked to develop a setting for their own fantasy story and to consider how the setting will tie into characters' personalities and actions. Students plan and label a map of their setting (Simbaya) including landforms and important places and are asked to consider events that could occur there. Students create comparative work (Venn diagram or artwork) and write 2–4 sentence reflections explaining how setting details give clues about place, and they generate 3–5 discussion questions about big ideas in the reading.

The lesson's Skills section explicitly tells students to "Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences." Activity 1 directs students to determine the type of conflict for their fantasy story and to "Create a plot diagram...that outlines the conflict, the rising action, the climax, and the falling action," linking characters and setting to plot. The provided sample plot diagram models how students should structure exposition, rising action, climax, falling action, and resolution.

Students are instructed to plan using character, setting, and plot diagrams and then to compose a 2–3 page (500–750 word) fantasy short story, specifying a single incident, mood, and story structure (setting, conflict, rising action, climax, falling action). The provided Fantasy Short Story Rubric evaluates content, organization (including clear conflict and resolution), word choice (strong, specific words and consistent mood), and conventions, and students are directed to consult a sample story to analyze technique and word choice. Students are given timed writing blocks across three days to draft and conclude the story, and they are asked to use planning sheets and the rubric to guide their writing and minor revisions.

Students are asked in Option 2 to stage, script, and record a short (4–5 minute) radio adventure program, following detailed instructions (page 61) that require creating a dramatized story with sound effects. Students are also asked in the "Making a Difference" activity to imagine being a 12-year-old in 1940s America, which prompts them to adopt a first-person perspective and generate ideas about actions and consequences.

Students complete the activity page titled "The Atomic Bomb," which asks them to fill a chart with "Facts and Advice/Estimates Available," evaluate "Do these facts support dropping atomic bombs on Japan?", and explain "Why or why not?" The activity also prompts students to decide whether the use of atomic bombs was justified and provides space for them to write a response justifying that decision.

Students are asked to invent three people and create Before, During, and After sections for each, answering specific prompts about each person's life, identity, wartime experiences, and postwar changes. Students must "write a short paragraph" about a relevant World War II event for each During section and may include printed diary entries or other written content as part of their exhibit. The rubric evaluates detailing life stages, relevance of identity elements, and use of primary sources and written content, which requires students to produce sequenced, descriptive accounts of imagined experiences.

In Activity 3 students are instructed: "In your journal, write a paragraph that describes the video that you enjoyed the most. Include in your paragraph something that surprised you or what you enjoyed. You should also include a description of how you feel..." This requires students to produce a short written account of a real experience (watching a video) and to include emotional and descriptive elements. Activity 1 and the Parent Plan present narrative text (the "A Year in Time" story) that students read and reflect on, providing a model of chronological storytelling.

Students are asked in Option 1 to create and perform a five-minute dramatization that tells the history of the Earth in real time, using timeline sheets to organize which events to cover at each moment. The rubric and activity pages require students to describe the progression of life, name the four major eons, and explain geologic concepts while timing and sequencing events. Presentation criteria ask students to use body gestures, voice pitch, and pacing for dramatic effect, and Option 2 instructs students to "write text to accompany your talk" for a 5–10 minute presentation.

Students are asked to record examples of effective images that appeal to the five senses and to identify vivid adjectives and figurative language from the reading. In Activity 2 students follow a stepwise sequence (hold, unwrap, examine, suck, bite, chew) and then write a short paragraph describing the experience of eating the candy, using sensory details and similes. The lesson also prompts students to practice descriptive word choice and to use a thesaurus to strengthen adjectives.

Students are asked to write and illustrate a short story modeled on "The Standover Man," choosing a true event, an imagined story, or a retelling of a scene from The Book Thief. Students are directed to jot ideas, write a rough draft, and use provided storyboard pages to plan illustrations and the text for each page, producing a 10–15 page finished book. Students are guided to think about what makes the simple story effective and to sequence and bind their pages into a coherent storybook.

Students locate and record instances of figurative language (personification, simile, metaphor, onomatopoeia) from Part Six, practicing identification and analysis of word choice and tone. Students complete a "Painting Sentences" activity in which they expand basic sentences by adding predicate and subject details, paint a chosen word, and refine wording to produce more descriptive sentences. Students are directed to use examples and a step-by-step process to add sensory and descriptive detail to sentences, practicing craft choices that make writing more vivid.

Students are asked to write descriptive paragraphs about a character, setting, or event (middle row tasks: Descriptive Character, Descriptive Setting, Descriptive Event) and to revise and strengthen those paragraphs on Day 3. Instructions tell students to use sensory details, strong verbs, powerful adjectives/adverbs, and figurative language, and to follow the "Painting Sentences" steps to improve weak sentences. Students also create diary entries, a radio-style war correspondent piece that should be "story-like," and design mini-lessons that require defining and exemplifying figurative devices.

The Red Scare activity explicitly asks students to "Imagine you support investigations... Write a journal entry" and "Imagine you oppose these investigations... Write a journal entry," which requires students to produce first-person, imagined responses. The student activity pages provide space for extended written responses and invite students to adopt a persona and describe experiences or concerns in writing.

Students are asked to write a memorial poem (Option 1) that reflects on the lives and deaths of civil-rights figures and draws connections between events, which requires them to recount and interpret real experiences. Students can also write a short newspaper clipping (Option 2) with a headline and two paragraphs where the first paragraph explains how the person died and the second describes the person's life and activism, requiring concise reporting of events. In Activity 1 students fill a graphic organizer with full-sentence descriptions of actions during arrests and personality traits, practicing descriptive writing about historical events.

Students are asked to write a short 2–3 minute speech in Option 2 that requires a clear claim (support the boycott), at least two reasons to support the claim, information about worker treatment as supporting evidence, and a strong message of what the audience should do. Students also choose quotations from Cesar Chavez to include in their speech and may create a Venn diagram comparing SCLC and the Black Panthers, practicing comparison of goals, principles, and strategies.

Students are asked to create a time capsule that includes written projects such as "a fake letter you might write from a soldier in Vietnam, a speech you might write for an anti-war rally, or a written list of goals for an activist movement," which explicitly asks for a first-person letter (a narrative form). The student activity pages require completing artifact description slips that ask "What is this artifact/document? What will it help future archaeologists understand about this time period?" and students must "prepare brief remarks" for a dedication ceremony, requiring composed spoken/written remarks about the period.

Students are asked in Activity 1 to create a comic-strip "Journey of a Water Droplet," describing and animating what happens to the drop at each listed step, which requires sequencing events from absorption in the large intestine through filtration in the nephron to elimination via the urethra. The directions require students to include environment details and have the comic be at least six panels long, which asks students to organize a series of events and provide relevant descriptive content. The task also asks students to split the droplet's path into two simultaneous outcomes, requiring parallel event sequencing and clarity of narrative progression.

The Parent Plan includes an explicit objective: "Use argument supported by evidence for how the body is a system of interacting subsystems composed of groups of cells," which directly references constructing evidence-based arguments about body systems. The discussion prompts (e.g., "Do you think all children should be vaccinated...?") and the question asking students to "Describe how cell-mediated immunity differs from antibody-mediated immunity" prompt students to form claims and provide explanatory support. The reading-and-questions section requires students to answer content questions about immune function, which could supply factual evidence for arguments.

Students are asked to write a 6–8 sentence literature response that requires personal reflection, connections to the text, and references to specific examples from chapters 3–4. Students are prompted to record three events, people, or circumstances from their own life that could inspire a novel and to explain how each might impact a reader. The parent plan notes that students should "produce clear and coherent writing" and a passage encourages writing from personal experience, stating this makes writing convincing and personal.

Students are asked in Activity 2 (Secret Success) to imagine a hidden talent and either create a 4-square comic strip showing how they reveal it (using pictures and dialogue) or write and perform a short (30–60 second) skit demonstrating the revelation. A sample skit and sample comic are provided as models, and students are instructed to practice and act out their skit for others. The reading task about Atticus's hidden talent and discussion questions prompt students to think about a revealing event and its emotional impact.

Students are asked to write a 6–8 sentence diary entry in the voice of a chosen character, imagining how the character thought, felt, and reacted to a scene. Students also complete a Venn diagram comparing two characters' perspectives and rewrite/explain five quoted passages in their own words, then create a creative display of one quote. These tasks require students to produce written perspective-taking and short narrative-style writing.

The lesson's Option 2 (Deleted Scenes) asks students to "write a short movie script for this scene for a 2-3 minute scene" and to "be sure to include stage directions, such as lighting, props, and music directions," which requires students to create a narrated sequence of events with descriptive directions. The activity also suggests rehearsing and performing the scene, which engages students in staging and sequencing actions in a narrative form.

The lesson's Option 2 (Reacting to the Moon Landing) explicitly asks students to "write a short reaction in the form of a diary entry or a letter to a friend" of 2–3 paragraphs from the perspective of a teenager in 1969, asking them to describe reactions, questions, and imagined future implications. The prompt directs students to think about the technology available in 1969 and how space technology differed from daily life, which requires students to develop a first-person narrative response about a historical event.

Students are asked to summarize a conflict-resolution webpage in their own words and to write a 2–3 sentence reflection about a specific past conflict, describing what was positive and what they could change. Students complete written activities such as making a list of ten qualities they want in a date, filling out a chart evaluating friendship qualities, and writing three questions about sex to discuss with a parent. These tasks require students to produce short written responses that refer to their own experiences and choices.

Students are asked to write their own narrative poem (Activity 2) and are given options to retell a known story or create an original one, with guidance to plan a simple rhythm and rhyme scheme and to take notes about details to include. Students analyze examples of narrative poems (e.g., "Casey at the Bat," "Paul Revere's Ride") and are reminded that such poems feature characters, plot, rising action, and a climax. The Skills and activities prompt students to use poetic techniques and figurative language (imagery, personification, rhyme, meter) when composing their poems.

Students are required to include a "narrative poem (Lesson 7)" in their final poetry journal, indicating they composed or compiled a narrative poetic piece. Students must also include an "edited poem -- include both the original and edited versions," which shows they practice revising their own writing. The rubric evaluates original poems for "thoughtfulness and creativity," implying students produce and refine their compositions for assessment.