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9 781943 008629Printed in Texas on recycled paper.

ENGLISH I EOC READINGSTAAR® Preparation and Practice

STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.

• 31 passages with over 180 authentic STAAR questions

• 18 reading skills with STAAR Strategies

• 3-step approach for efficient remediation

ENG

LISH I EO

C READ

ING

STAA

R Preparation and Practice

1: Literary TextsFiction

Diagnostic Test, Reading Skills & Practice,Post Test

DramaDiagnostic Test, Reading Skills & Practice,Post Test

Literary NonfictionDiagnostic Test, Reading Skills & Practice,Post Test

PoetryDiagnostic Test, Reading Skills & Practice,Post Test

2: Informational TextsExpository


PersuasiveDiagnostic Test, Reading Skills & Practice,Post Test

3: Paired TextsDiagnostic Test, Reading Skills & Practice,Post Test

ENGLISH I EOC READING CONTENTS

Visit SiriusEducationSolutions.com for additional STAAR EOC resources.

2017 UPDATE

2017 UPDATE

Use with Your Students!

Copyright © 2017 by Sirius Education Solutions LLC. All rights reserved. No part of this work may be reproduced or distributed in any form or by any means, electronic, mechanical, photocopying, scanning, recording, or stored in a database or retrieval system, without the prior written permission of the publisher.

STAAR® is a registered trademark of the Texas Education Agency. The Texas Education Agency does not endorse this program or its content. Sirius Education Solutions is not affiliated with the Texas Education Agency or the State of Texas.

STAAR® test questions copyright © by the Texas Education Agency. All rights reserved.

Printed in Texas.

ISBN: 978-1-943008-62-9

Possession of this publication in print format does not entitle users to convert this publication, or any portion of it, into electronic format.

Thank you for respecting the copyright and supporting the effort involved in creating this product.

Sampler

iii Table of Contents

Table of ContentsWelcome Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vAbout the STAAR English I EOC Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viHow to Use This Book for STAAR Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viiSTAAR Multiple-Choice Test-Taking Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ixStudent Progress Monitoring Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi

Section 1: Literary TextsIntroduction to Literary Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

FICTIONDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Reading Skills1 Making Inferences in Fiction (E1.5 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Using a Dictionary Entry (E1.1E) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Using Context Clues to Determine Meaning (E1.1B) . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Analyzing Character Development (E1.5B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Analyzing Point of View (E1.5C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Understanding Historical or Cultural Setting (E1.2C) . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Reading PracticeFiction 1 The Open Boat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Fiction 2 Summer of the Mariposas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

DRAMADiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Reading Skills1 Analyzing Drama (E1.4A, E1.4 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Determining Theme (E1.2 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Reading PracticeDrama 1 A Doll’s House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

LITERARY NONFICTIONDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Reading Skill 1 Analyzing Literary Nonfiction (E1.6A, E1.6 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Reading PracticeLiterary Nonfiction 1 The Great Depression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

POETRYDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Reading Skills1 Analyzing Poetic Language (E1.3A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732 Interpreting Poetry (E1.3 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Included in Sampler

Sampler

iv English I EOC Reading

Reading PracticePoetry 1 Driving Through West Texas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Section 2: Informational Texts Introduction to Informational Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

EXPOSITORYDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Reading Skills1 Understanding the Controlling Idea and Author’s Purpose (E1.8A) . . . . . . . . . . . . . . 902 Analyzing Opinions (E1.9B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 923 Making Inferences in Expository Texts (E1.9C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944 Evaluating Summaries (E1.9A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965 Analyzing Procedural and Graphic Elements (E1.11A, E1.12A) . . . . . . . . . . . . . . . . . . . 98

Reading PracticeExpository 1 Babe Didrikson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Expository 2 Sallie Tate’s Emancipation Dress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

PERSUASIVEDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Reading Skill1 Analyzing Persuasive Texts (E1.10A, E1.10 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Reading PracticePersuasive 1 Remarks at the Signing of the Highway Beautification Act of 1965 . . . . 123Persuasive 2 Volunteering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Section 3: Paired TextsIntroduction to Paired Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

PAIRED TEXTSDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Reading Skill1 Making Inferences Across Texts (E1 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Reading PracticePaired Texts 1 United Skies over Terrell / Here Come the Yanks! . . . . . . . . . . . . . . . . . 147Paired Texts 2 City of the Dead / Storm and Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . 158Paired Texts 3 The Drought / Between Hell and Texas . . . . . . . . . . . . . . . . . . . . . . . . . 167

Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178

Student Answer Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Sampler

v Welcome Letter

Dear Students,

The STAAR English I assessment measures your knowledge of the English I standards (TEKS). STAAR tests are not designed to measure many important qualities of character and intelligence — as this cartoon shows.

Dys

lexi

cKid

s.ne

t

Qualities Not Measured by STAAR Tests

Big-Picture ThinkingComp�ionReliabilityMotivationHumorEmpathy

Sense of Beauty

Humility

Sense of Wonder

PersistenceCuriosityEnthusiasm

COURAGE

LeadershipCreativityCivic-Minded

Resourcefulness

PositivityResilience

What are some other important qualities of character and intelligence missing in STAAR tests?

But performing well on the STAAR tests is important, so you want to do all you can to succeed on them. That’s where this workbook comes in! It was designed to help you prepare for the Reading part of the STAAR English I test by

• teaching the skills to approach and answer different STAAR test questions, and by• providing practice questions that are similar to those you will answer on the actual test.

But as good as this workbook is, it only helps if you use it. So, please use this workbook!

Practicing Smart Is the Secret to STAAR Success There is a secret to success on the STAAR tests — practice, practice, and more practice. This is good news because you are in control of how much effort you put into practicing. But not all practice is the same… you need to practice smart.

First, practice with test questions that are very similar to the actual STAAR test. That’s easy because this workbook is full of them! Next, focus on your weaknesses —spend extra time on questions you have trouble with. Think of it like this: if your basketball shot needs improvement, you don’t practice dribbling. Instead, you practice shooting.

Focusing on your weaknesses also means carefully analyzing each test question you get wrong. Why did you get it wrong? Why is another answer correct? You can learn more from test questions you get wrong, so don’t be afraid of making mistakes. If your basketball shot is off, you identify what you are doing wrong (too far left) and correct it with your next shot (aim further right).

When you practice, give each question your full attention. Do not take a break until after you answer the question. Your attention is like a muscle that you can build by using it, one practice test question at a time. Do you believe unfocused, sloppy practice of your basketball shot will help you perform during a big game? No! Your attention is your greatest power. You develop it with practice.

Preparing for the STAAR test can actually be a fun challenge. And when you practice smart, you are building life skills while you prepare for the STAAR test!

Your partners in STAAR success,

The Sirius Education Team

Sampler

vii How to Use This Book for STAAR Success

How to Use This Book for STAAR Success3-Step Approach to Differentiate InstructionThis interactive workbook is easily adapted for different needs and includes an optional 3-step approach to efficiently prioritize and individualize remediation when preparation time is limited.

Step 1 Identify Your Needs — Diagnostic Tests for Each GenreUse the Diagnostic Tests for each genre to identify what you know and what you need to review. Record your results in the Progress Monitoring Chart.

4 English I EOC Reading ■ Literary Texts

2 Why does Uncle Zeno call the boy “Doc” in paragraph 6? (E1.2C)

F “Doc” is an affectionate nickname.

G The boy wants to be a doctor.

H The uncle is teasing the boy for playing ball poorly.

J The uncle is frustrated with the boy.

3 Which sentence provides the strongest evidence that Jim’s uncles are kind and caring? (E1.5B)

A He blames himself for the boy’s lack of success.

B They do not creep closer because it would make the boy feel bad.

C All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys.

D Each uncle would still gladly play a game of baseball, should anyone ask, though no one has asked for several years.

GO ON

Fiction Diagnostic

Read the selection and answer the questions that follow.

from Jim the Boyby Tony Earley

xi Student Progress Monitoring Chart

Name Class Date

Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS.

1 Diagnostic Mark a ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark a ✓ in the box beside each question that you answered correctly. Find the total correct. Refer

back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as in the Diagnostic Test.)

FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS

1 Using Context Clues to Determine Meaning (p. 10) E1.1B

2 Understanding Historical and Cultural Settings (p. 17) E1.2C

3 Analyzing Character Development (p. 12) E1.5B



6 Making Inferences in Fiction (p. 6) E1.5 Fig. 19B

Total / 6 Total / 6

DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS

1 Analyzing Drama (p. 38) E1.4A




5 Determining Theme (p. 41) E1.2 Fig. 19B

6 Analyzing Drama (p. 38) E1.4 Fig. 19B

Total / 6 Total / 6

LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS

1 Analyzing Literary Nonfiction (p. 59) E1.6A

2 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B





Total / 6 Total / 6

STEP 2 Focus Remediation — Skill Lessons and Genre PracticeUse your Diagnostic results to focus skills instruction and practice to meet your unique needs.


Reading Skill 4Analyzing Character

DevelopmentWriters create complex and believable characters in different ways.

Describe the character’s personality Sasha was obsessed with world events.

Describe the character’s appearance His shirt was rumpled and unevenly buttoned.

Use the character’s own words “I dress while watching the morning news,” he explained.

Tell the character’s inner thoughts and feelings He worried that a daily news item might escape his notice.

Show the character’s actions He listened to a podcast about North Korean famine, striding past the hungry beggar.

Show other characters’ reactions to the character

His daughter found it difficult to compete with the car radio during the ride home.

By combining details about a character with your own knowledge, you can make inferences about that character. When you answer a test question asking about a character, you’ll want to look for these details in the selection.

STAAR StrategyRead the question from a previous STAAR test below. The related passage follows the question. Then read the steps for answering a question like this.

1 Read each answer choice. Then read the relevant part of the selection. Underline and label details relating to each answer choice.

(E1.5B)

From the paragraph, the reader can infer that the three uncles —

F think that winning is important

G prefer baseball to all other games

H miss the days of their youth

J used to play baseball professionally STAAR English I, 2014, #28

All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys. Uncle Al’s mitt was made for a right-handed fielder, but he has worn it on the wrong hand for so long that he no longer notices that it doesn’t fit. Each uncle would still gladly play a game of baseball, should anyone ask, although no one has asked for years. They keep their tiny, relic gloves properly oiled, however, as if such invitations were not only commonplace, but imminent.

13 Reading Skill ■ Fiction

2 Evaluate the evidence you underlined. Cross out answer choices not supported by evidence.




J used to play baseball professionally

Guided Practice Read the paragraph and question. Follow the steps for analyzing a character. Remember: underline details that support specific answer choices, and cross out answer choices not fully supported by evidence.

Think About Your Thinking

In the chart below, note how you evaluated each answer choice.

Answer Choices

Textual EvidenceIs inference supported?

A Reference to when “the army loses,” doesn’t apply to the captain specifically. no

B

C

D

Independent PracticePractice analyzing character in Fiction Practice 1 and 2, and Paired Practice 2 and 3.

The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.

From the paragraph, the reader can infer that the captain —

A has previously fought in a war C is not respected by his crew

B has lost his mind D is depressed over the loss of his ship

A

There is no mention that the uncles played professionally.

No evidence explains how they feel about winning.

No evidence supports this idea.

Yes! They lovingly maintain their gloves, which are symbols of their youth.

23 Reading Practice ■ Fiction

1 Read the following from paragraph 1. (E1.5 Fig. 19B)

These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.

The reader can infer from this line that the characters —

A are happy to be on the open water

B have strong visual memories

C have all been to sea before

D are experienced fishermen

2 In paragraph 3, the word invariably means — (E1.1B)

F constantly

G worriedly

H nervously

J resentfully

3 From paragraph 6, the reader can infer that the captain — (E1.5B)

A had previously fought in a war

B has lost his mind

C is not respected by his crew

D is depressed over the loss of his ship

Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.

VOCABULARY

Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?

Read the selection and choose the best answer to each question.

from The Open Boatby Stephen Crane

1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.

2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.

3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.

4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.

STEP 3 Monitor Your Progress — Post TestsUse each genre Post Test to monitor progress and to identify additional lessons for review. The Post Test questions cover the same TEKS in the same order as the Diagnostic Test.

Each item correlates to a TEKS and Skill lesson.

Diagnostic Tests cover 7 genres

Practice with support for Active Reading

Guided Practice

19 Skills Lessons

Models strategy with released STAAR items

Critical thinking

TEKS

Independent Practice

Fiction Post Test


From Call of the Wild


Name Class Date

Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS.




1 Using Context Clues to Determine Meaning (p. 10) E1.1B





6 Making Inferences in Fiction (p. 6) E1.5 Fig. 19B

Total / 6 Total / 6








Total / 6 Total / 6








Total / 6 Total / 6

✓✓

✓

✓✓

4

Focus on skills you need most.

Monitor your progress

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Sampler

viii English I EOC Reading

How to Use This Book for STAAR SuccessFocused Remediation is provided by 18 reading skill lessons and 15 reading passages with STAAR practice items .

Reading Skill LessonsEach lesson provides concise and student-friendly instruction in answering a released STAAR test item. Each TEKS-based skill models a STAAR Strategy that students apply in Guided Practice.

90 English I EOC Reading ■ Informational Texts

Understanding the Controlling Idea and Author’s PurposeThe controlling idea—also called a thesis or main idea—is the central idea of an informative text. The controlling idea also reflects the author’s purpose—the author’s reason for writing the text. Each paragraph supports the controlling idea and purpose.

The STAAR test asks about the controlling idea and author’s purpose in different ways. You may be asked to identify specific evidence that supports a paragraph’s topic. Or you might be asked about the purpose of a specific paragraph.

STAAR StrategyRead the question below. The selection that follows it is about Dick Fosbury, who developed a high jump called the Fosbury Flop. Then read the steps for answering a question like this.

1 Determine what the question is asking. Analyze the stem and answer choices.

2 Figure out a strategy for finding the information you need. You can figure out the topic by deciding what most of the evidence in the paragraph is about.

3 Mark up the passage and question. Underline evidence and cross out incorrect choices.

A show Fosbury’s determination and eventual success

B explain the mechanics of the Fosbury Flop

C demonstrate Fosbury’s reluctance to follow the advice of others

D emphasize Fosbury’s desire to get a college education

(E1.8A)

The author includes the information in this paragraph to —

A show Fosbury’s determination and eventual success

B explain the mechanics of the Fosbury Flop

C demonstrate Fosbury’s reluctance to follow the advice of others

D emphasize Fosbury’s desire to get a college education STAAR English I, 2013, #17

At Oregon State University, where [Fosbury’s] jumping skill earned him a full scholarship, Coach Berny Wagner discouraged him from using the flop and urged him to use the traditional form. After a year without success he returned to his own move and broke the school record with a six-foot-ten-inch jump. Fosbury developed the jump so well that he won back-to-back National Collegiate Athletic Association (NCAA) championships during his college career. At the 1968 Olympic trials he was almost eliminated but then cleared a personal record height of seven feet, two inches.

—from Scribner Encyclopedia of American Lives: Sports Figures

D

A

This is a body paragraph. The answer choices are topics. I need to choose the right topic.

Going back to his move, improving it, and making the Olympic trials are evidence that supports this answer.

Fosbury followed his coach’s advice for a year, so the idea that he was reluctant is not supported.

College is mentioned, but not Fosbury’s feelings about education.

91 Reading Skill ■ Expository

Guided PracticeRead the following passage about Dick Fosbury. Then read and answer the question that follows. Use the steps on the previous page to analyze the question and the answer choices. One part, analyzing the stem, has been done for you.

According to the selection, why was it not surprising that younger athletes were the first to use the Fosbury Flop?

F Younger athletes were less afraid to use the “scissors” approach.G Older athletes were already committed to the established style

of high jumping.H Successful high jumpers were convinced the Fosbury Flop

wouldn’t result in higher jumps.J It is human nature to resist change.


In the chart below, evaluate each answer choice based on evidence you identified in the paragraph. One evaluation has been done for you.

Answer Choices

Textual EvidenceIs answer

supported?

F Younger athletes mentioned, but not in this way. no

G

H

J

Independent PracticeYou will have the opportunity to practice this skill in Expository Practice 1 and 2, Persuasive Practice 1, and Paired Practice 1.

Fosbury said, “The problem with something revolutionary is that most of the elite athletes had invested so much time in their technique and movements that they didn’t want to give it up, so they stuck with what they knew.” It would be ten years before the majority of jumpers used Fosbury’s technique. The first athletes to pick it up were, not surprisingly, the youngest ones.

These words tell me I’m looking for something in the text.

After re-reading the paragraph, I see that this is its topic. The correct answer will support the topic.

Reading Genre PracticeThis workbook provides authentic STAAR practice in the 7 tested genres, using grade-appropriate selections and test questions that mimic released STAAR tests.



VOCABULARY








5 The correspondent2, pulling at the other oar, watched the waves and wondered why he was there.

6 The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain

1someone who oils the machinery of a ship2a reporter










F constantly

G worriedly

H nervously

J resentfully



B has lost his mind



29 passages in 7 genres

Margin features promote active reading.

Over 100 questions match the released STAAR tests in content and format.

TEKS

Uses a 3-step model for• understanding

questions• searching for text clues

or support• evaluating answer

choices

Key terms

Analyzes released STAAR questions

TEKS

Independent Practice

Guided Practice helps students apply the strategy.

Show your thinking by analyzing each answer choice.

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Name Class Date

Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS .




1 Using Context Clues to Determine Meaning (p. 10) E1 .1B


3 Analyzing Character Development (p. 12) E1 .5B


5 Analyzing Character Development (p. 12) E1 .5B

6 Making Inferences in Fiction (p. 6) E1 .5 Fig . 19B

Total / 6 Total / 6








Total / 6 Total / 6








Total / 6 Total / 6

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xii English I EOC Reading

POETRYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS

1 Interpreting Poetry (p. 76) E1.3 Fig. 19B

2 Analyzing Poetic Language (p. 73) E1.3A


4 Analyzing Poetic Language (p. 73) E1.3A



Total / 6 Total / 6

EXPOSITORYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS

1 Analyzing Opinions (p. 92) E1.9B

2 Understanding the Controlling Idea and Author’s Purpose (p. 90)

E1 .8A

3 Making Inferences in Expository Texts (p. 94) E1 .9C

4 Making Inferences in Expository Texts (p. 94) E1 .9C

5 Analyzing Procedural and Graphic Elements (p. 98) E1.12 Fig. 19B

6 Evaluating Summaries (p. 96) E1 .9A

Total / 6 Total / 6

PERSUASIVEQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS

1 Analyzing Persuasive Texts (p. 120) E1.10 Fig. 19B


3 Analyzing Persuasive Texts (p. 120) E1.10A

4 Understanding the Controlling Idea and Author’s Purpose (p. 90)

E1.8A

5 Analyzing Persuasive Texts (p. 120) E1.10A


Total / 6 Total / 6

PAIRED TEXTSQuestion 1 2 Review: Skill Lesson 3 TEKS

1 Making Inferences Across Texts (p. 144) E1 Fig . 19B






Total / 6 Total / 6

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Reading Skill 4Analyzing Character

DevelopmentWriters create complex and believable characters in different ways.

Describe the character’s personality Sasha was obsessed with world events.

Describe the character’s appearance His shirt was rumpled and unevenly buttoned.

Use the character’s own words “I dress while watching the morning news,” he explained.

Tell the character’s inner thoughts and feelings He worried that a daily news item might escape his notice.

Show the character’s actions He listened to a podcast about North Korean famine, striding past the hungry beggar.

Show other characters’ reactions to the character

His daughter found it difficult to compete with the car radio during the ride home.

By combining details about a character with your own knowledge, you can make inferences about that character. When you answer a test question asking about a character, you’ll want to look for these details in the selection.

STAAR StrategyRead the question from a previous STAAR test below. The related passage follows the question. Then read the steps for answering a question like this.

1 Read each answer choice. Then read the relevant part of the selection. Underline and label details relating to each answer choice.

(E1.5B)

From the paragraph, the reader can infer that the three uncles —




J used to play baseball professionally STAAR English I, 2014, #28

All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys. Uncle Al’s mitt was made for a right-handed fielder, but he has worn it on the wrong hand for so long that he no longer notices that it doesn’t fit. Each uncle would still gladly play a game of baseball, should anyone ask, although no one has asked for years. They keep their tiny, relic gloves properly oiled, however, as if such invitations were not only commonplace, but imminent.

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2 Evaluate the evidence you underlined. Cross out answer choices not supported by evidence.




J used to play baseball professionally

Guided Practice Read the paragraph and question. Follow the steps for analyzing a character. Remember: underline details that support specific answer choices, and cross out answer choices not fully supported by evidence.


In the chart below, note how you evaluated each answer choice.

Answer Choices

Textual EvidenceIs inference supported?

A Reference to when “the army loses,” doesn’t apply to the captain specifically. no

B

C

D

Independent PracticePractice analyzing character in Fiction Practice 1 and 2, and Paired Practice 2 and 3.

The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.

From the paragraph, the reader can infer that the captain —

A has previously fought in a war C is not respected by his crew

B has lost his mind D is depressed over the loss of his ship

A

There is no mention that the uncles played professionally.

No evidence explains how they feel about winning.

No evidence supports this idea.

Yes! They lovingly maintain their gloves, which are symbols of their youth.

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Reading Skill 6Understanding Historical

or Cultural SettingWorks written or set in an earlier time period or a distant place sometimes contain unfamiliar words, phrases, or figures of speech. Some of these cultural expressions, or idioms, may have a meaning different from the literal meaning of the words. These idioms often express the historical or cultural attitudes of the characters in the story. Context clues and other textual evidence can help you decode the meaning.

STAAR StrategyRead the drama excerpt and question below. Then read the steps for answering a question like this. In the excerpt, a girl named Anne is waiting at a train station. As she waits, she talks with the stationmaster, the person who manages the station.

1 Make sure you understand what you are being asked. It may help to turn the stem into a question. Then circle key words in the question.

What does the stationmaster’s figurative language in paragraph 1 1 indicate about Anne?

(E1.2C)

8 ANNE: . . . . I don’t ever expect to be a bride myself. I’m too homely. But I hope that someday I shall have a white dress. That is my highest ideal of earthly bliss.

[An older man, very tentative and shy, enters. He stands diffidently off to the side, looking around for something at first, and then focuses in on Anne and hears her last few lines.]

9 STATIONMASTER: [Sees the man and goes to him.] About time you got here, Matthew.

10 MATTHEW: Will the 5:30 train be long?

11 STATIONMASTER: Been in and gone half an hour. [Indicating Anne.] There she is. [Confidently.] She’s a case. Got a tongue runs longer than a freight train to Ottawa.

In paragraph 11, the stationmaster uses figurative language to indicate that Anne —

A has traveled a long way

B talks too much

C has a wild imagination

D cannot be fully trusted STAAR English I, 2012, #2

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2 Try answering the question in your head.

The stationmaster says something strange: “Got a tongue runs longer than a freight train to Ottawa.” I’m not sure what that means—it must be a figure of speech. Maybe she talks a lot or tries to trick people?

3 Confirm your answer among the answer choices. If your answer doesn’t match up, look for evidence in the text to support one of the responses given.

Both B and D seem like my answers. Reading paragraph 8, I don’t get the feeling that Anne is untrustworthy. It just seems as if she talks on and on. For instance, why is she talking to the stationmaster about being a bride? I think choice B is correct.

Guided Practice Read the selection and then respond to the question. Follow the STAAR strategy on the previous page.

“Okay, Doc,” Uncle Zeno says. “Keep your eye on the ball. Here it comes.”

The baseball in Uncle Zeno’s hand is almost invisible, a piece of smoke, a shadow. The woods on the far side of the pasture are already dark as sleep; the river twists through them by memory. Uncle Zeno tosses the ball gently toward the boy, who does not see it until its arc carries it above the black line of trees, where it hangs for a moment like an eclipse in the faintly glowing sky. The boy is arm-weary; he swings as hard as he is able. The bat and ball collide weakly. The ball drops to the ground at the boy’s feet. It lies there stunned, quivering, containing flight beneath its smooth skin. The boy switches the bat into his left hand, picks up the ball with his right, and throws it back to Uncle Zeno.

“I hit it just about every time,” the boy says.

“Batter, batter, batter, batter,” Uncle Al chirps in the field.

“Say, whatta-say, whatta-say, whatta-say,” chants Uncle Coran in the ancient singsong of ballplayers. The uncles are singing to the boy. He has never heard anything so beautiful. He does not want it to stop.

“Okay, Doc,” says Uncle Zeno. “One more. Now watch.”

Which of the following is an example of an expression related to the game of baseball?

F “Here it comes.”

G “I hit it just about every time”

H “Say, whatta-say, whatta-say, whatta-say”

J “One more. Now watch.”

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In the chart below, note how you used the evidence in the paragraph to help you choose the answer. One line has been completed for you.

Answer Choices

Textual EvidenceIs answer

supported?

F “Here it comes” means what it says—here comes the ball. But this expression could apply to anything, not just baseball. no

G

H

J

Independent Practice You will have the opportunity to practice understanding a work’s cultural and historical setting in Fiction Practice 2.

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VOCABULARY











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FIGURATIVE LANGUAGE

What is the boat compared to in paragraph 9? How does this metaphor help to develop the story’s setting?

had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.

7 “Keep ‘er a little more south, Billie,” said he.

8 “’A little more south,’ sir,” said the oiler in the stern.

9 A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high. The manner of her scramble over these walls of water is a mystic thing, and, moreover, at the top of them were ordinarily these problems in white water, the foam racing down from the summit of each wave, requiring a new leap, and a leap from the air. Then, after scornfully bumping a crest, she would slide, and race, and splash down a long incline, and arrive bobbing and nodding in front of the next menace.

10 A singular disadvantage of the sea lies in the fact that after successfully surmounting one wave you discover that there is another behind it just as important and just as nervously anxious to do something effective in the way of swamping boats. In a ten-foot dinger one can get an idea of the resources of the sea in the line of waves that is not probable to the average experience that is never at sea in a dinghy. As each salty wall of water approached, it shut all else from the view of the men in the boat, and it was not difficult to imagine that this particular wave was the final outburst of the ocean, the last effort of the grim water. There was a terrible grace in the move of the waves, and they came in silence, save for the snarling of the crests.

...

11 In disjointed sentences the cook and the correspondent argued as to the difference between a life-saving station and a house of refuge. The cook had said: “There’s a house of refuge just north of the Mosquito Inlet Light, and as soon as they see us, they’ll come off in their boat and pick us up.”

12 “As soon as who see us?” said the correspondent.

13 “The crew,” said the cook.

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14 “Houses of refuge don’t have crews,” said the correspondent. “As I understand them, they are only places where clothes and grub are stored for the benefit of shipwrecked people. They don’t carry crews.”

15 “Oh, yes, they do,” said the cook.

16 “No, they don’t,” said the correspondent.

17 “Well, we’re not there yet, anyhow,” said the oiler, in the stern.

18 “Well,” said the cook, “perhaps it’s not a house of refuge that I’m thinking of as being near Mosquito Inlet Light. Perhaps it’s a life-saving station.”

19 “We’re not there yet,” said the oiler, in the stern.

Courtesy of the artist, Robert Quackenbush.

CHARACTER

What remark does the oiler make in paragraphs 17 and 19? Why do you think he repeats himself?

ANALYZE IMAGES

What does the image reveal about the story’s setting? Write down some things you learn about the story or characters from looking at the woodcut drawing.

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F constantly

G worriedly

H nervously

J resentfully



B has lost his mind



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A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.

The author uses figurative language in this paragraph to show —

F the characters are like cowboys

G the setting is dangerous

H the sailors’ adventure is exciting

J the boat has a mind of its own

5 In paragraphs 11 through 19, what role does the oiler play in the development of the story? (E1.5B)

A He shares his knowledge about houses of refuge.

B He offers a pessimistic outlook.

C He acts as a realist and is concerned with the present.

D He tries to settle the argument between the others on the boat.

6 Which detail is emphasized more in the woodcut than it is in the story? (E1.12A)

F The captain’s mood

G The size of the boat

H The conditions at sea

J The relationship between the sailors

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Using This Teacher’s Edition T5



A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.

The author uses figurative language in this paragraph to show —

F the characters are like cowboys

G the setting is dangerous

H the sailors’ adventure is exciting

J the boat has a mind of its own

5 In paragraphs 11 through 19, what role does the oiler play in the development of the story? (E1.5B)

A He shares his knowledge about houses of refuge.

B He offers a pessimistic outlook.

C He acts as a realist and is concerned with the present.

D He tries to settle the argument between the others on the boat.

6 Which detail is emphasized more in the woodcut than it is in the story? (E1.12A)

F The captain’s mood

G The size of the boat

H The conditions at sea

J The relationship between the sailors

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Sirius Education SolutionsAnswer Choice Explanations

4 F The author uses rodeo imagery not to suggest that the setting is similar to a rodeo, but to illustrate that the setting is wild and dangerous.

G Correct. The image of the boat bucking like a bronco, prancing and rearing, and rising for each wave “like a horse making at a fence outrageously high” illustrates the dangerous position the boat’s occupants are in.

H The figurative language is used to make the setting seem wild to the point of being dangerous, not exciting.

J The author uses animal imagery to illustrate how wild and dangerous the setting is, not to suggest that it is literally like an animal.

5 A The correspondent shares his knowledge about houses of refuge, not the oiler.

B “We’re not there yet” is a statement of fact; it is neither inherently pessimistic nor optimistic. It is a reminder of the reality of the situation.

C Correct. The oiler tells his fellow crewmembers twice, “We’re not there yet,” pointing out the futility of arguing about the house of refuge before they know if they’ll even make it there.

D The oiler does not get involved in the argument or try to stop it; he merely points out the reality of the situation.

6 F It is difficult to determine anything about the captain’s mood from the woodcut, but it is discussed in great detail in the story (paragraph 6).

G Correct. It is immediately clear from looking at the woodcut that the boat is tiny compared to the waves, but the physical description of the boat is more of a minor point in the story.

H The conditions at sea are emphasized greatly both in the woodcut (the large waves) and the story (paragraph 9).

J It is difficult to determine anything about the relationship between the sailors from the woodcut, but it is discussed in paragraphs 11 through 19 of the story.

24

Using This Teacher’s Edition

Active Reading in Genre Practice Each practice reading selection features activities that help students apply the reading skills taught in this workbook.

1 As You Read ActivityEach practice reading selection begins with an activity that helps students read with a purpose for that specific genre and selection. These activities help students

• practice annotating and making notes • understand the selection as a whole • focus on relevant TEKS content

2 Interactive Margin ActivitiesActivities in the margin are tied to specific practice questions that follow the selection. These activities help students

• find the information needed to answer questions• practice TEKS standards in free response activities • explain their thinking

Answer choice explanations are provided for EACH answer choice in all STAAR practice items.

A student who correctly answers a margin activity but misses the related practice item may have made a careless error despite possessing sufficient command of the skill. The converse may also be true, and both can provide important information to teachers.



VOCABULARY











In a way that is not variable; constantly

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3 Answer Choice Explanations

These explanations help teachers identify student mistakes and facilitate remediation.

Use these activities with small groups, partners, or individuals.

Activities use scaffolding to help students explain their thinking.

Red boxes show correct answers.

1

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alyz

ing

a c

har

acte

r.

Rem

emb

er: u

nd

erlin

e d

etai

ls t

hat

su

pp

ort

sp

ecifi

c an

swer

ch

oic

es, a

nd

cro

ss o

ut

answ

er c

ho

ices

no

t fu

lly s

up

po

rted

by

evid

ence

.

Thin

k A

bo

ut

You

r Th

inki

ng

In t

he

char

t b

elo

w, n

ote

ho

w y

ou

eva

luat

ed e

ach

an

swer

ch

oic

e.

An

swer

C

ho

ices

Text

ual

Evi

den

ceIs

infe

ren

ce

sup

po

rted

?

ARef

eren

ce to

whe

n “th

e ar

my

lose

s,” d

oesn

’t ap

ply to

the

capt

ain

spec

ifically.

no

B C D

Ind

ep

en

den

t Pra

ctic

ePr

acti

ce a

nal

yzin

g c

har

acte

r in

Fic

tio

n P

ract

ice

1 an

d 2

, an

d P

aire

d P

ract

ice

2 an

d 3

.

Th

e in

jure

d ca

ptai

n, ly

ing

in t

he b

ow,

was

at

this

tim

e bu

ried

in t

hat

prof

ound

de

ject

ion

and

indi

ffer

ence

whi

ch c

omes

, te

mpo

rari

ly a

t le

ast,

to

even

the

bra

vest

and

m

ost

endu

ring

whe

n, w

illy-

nilly

, th

e fir

m f

ails

, th

e ar

my

lose

s, t

he s

hip

goes

dow

n.

The

min

d of

the

mas

ter

of a

ves

sel i

s ro

oted

dee

p in

the

tim

bers

of he

r, t

houg

h he

co

mm

ande

d fo

r a

day

or a

dec

ade,

and

thi

s ca

ptai

n ha

d on

him

the

ste

rn im

pres

sion

of

a s

cene

in t

he g

reys

of da

wn

of s

even

tur

ned

face

s, a

nd la

ter

a st

ump

of a

top

-mas

t w

ith a

whi

te b

all o

n it

that

sla

shed

to

and

fro

at t

he w

aves

, w

ent

low

and

low

er,

and

dow

n. T

here

afte

r th

ere

was

som

ethi

ng s

tran

ge in

his

voi

ce.

Alth

ough

ste

ady,

it w

as

deep

with

mou

rnin

g, a

nd o

f a

qual

ity

beyo

nd o

ratio

n or

tea

rs.

Fr

om t

he p

arag

raph

, th

e re

ader

can

infe

r th

at t

he c

apta

in —

A

has

prev

ious

ly f

ough

t in

a w

ar

C

is n

ot r

espe

cted

by

his

crew

B

has

lost

his

min

d D

is

dep

ress

ed o

ver

the

loss

of hi

s sh

ip

A

Ther

e is

no m

entio

n th

at th

e un

cles

play

ed p

rofe

ssio

nally

.

No

evid

ence

exp

lain

s ho

w th

ey

feel

abo

ut w

inni

ng.

No

evid

ence

su

ppor

ts th

is id

ea.

Yes!

The

y lo

ving

ly m

aint

ain

thei

r glo

ves,

whi

ch a

re

sym

bols

of th

eir y

outh

.

The c

apta

in “s

ees”

the s

hip g

oing

down

, but

this

is a

real

mem

ory;

he’s

not i

nsan

e.no

No e

viden

ce su

ppor

ts th

is re

spon

se.

noHi

s voic

e is

“dee

p wi

th m

ourn

ing,”

haun

ted

by vi

sion

of h

is sh

ip g

oing

dow

n.ye

s

D DB {{

English I EOC Reading ■ Literary Texts © Sirius Education Solutions12–13


16E

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I E

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Re

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■ L

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ary

Text

s

Thin

k A

bo

ut

You

r Th

inki

ng

In t

he

char

t b

elo

w, n

ote

ho

w y

ou

eva

luat

ed e

ach

an

swer

ch

oic

e b

ased

on

th

e ev

iden

ce

in t

he

par

agra

ph

. On

e ev

alu

atio

n h

as b

een

co

mp

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d f

or

you

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swer

C

ho

ices

Eval

uat

ion

Is a

nsw

er

sup

po

rted

?

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e na

rrat

or is

tellin

g th

e st

ory

to M

arge

, so

the

read

er is

a

seco

ndha

nd w

itnes

s.no

G H J

Ind

ep

en

den

t Pra

ctic

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will

hav

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e o

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ort

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ity

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anal

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tio

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2.

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read

er d

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ll the

stor

y, so

this

is no

t the

corre

ct

answ

er.no

Yes,

we a

re lis

tenin

g to

, or o

bser

ving,

the

narra

tor a

s she

tells

th

e sto

ry to

Mar

ge, s

o we

bec

ome

third

-par

ty o

bser

vers.

yes

The

read

er d

oes n

ot p

artic

ipat

e in

the

story.

no

17

Re

ad

ing

Skil

l ■

Fict

ionRea

ding

Sk

ill 6

Unders

tandin

g H

isto

rica

l

or

Cult

ura

l Sett

ing

Wo

rks

wri

tten

or

set

in a

n e

arlie

r ti

me

per

iod

or

a d

ista

nt

pla

ce s

om

etim

es c

on

tain

u

nfa

mili

ar w

ord

s, p

hra

ses,

or

fig

ure

s o

f sp

eech

. So

me

of

thes

e cu

ltu

ral e

xpre

ssio

ns,

or

idio

ms,

may

hav

e a

mea

nin

g d

iffe

ren

t fr

om

th

e lit

eral

mea

nin

g o

f th

e w

ord

s. T

hes

e id

iom

s o

ften

exp

ress

th

e h

isto

rica

l or

cult

ura

l att

itu

des

of

the

char

acte

rs in

th

e st

ory

. C

on

text

clu

es a

nd

oth

er t

extu

al e

vid

ence

can

hel

p y

ou

dec

od

e th

e m

ean

ing

.

STA

AR

Str

ate

gy

Rea

d t

he

dra

ma

exce

rpt

and

qu

esti

on

bel

ow

. Th

en r

ead

th

e st

eps

for

answ

erin

g a

q

ues

tio

n li

ke t

his

. In

th

e ex

cerp

t, a

gir

l nam

ed A

nn

e is

wai

tin

g a

t a

trai

n s

tati

on

. As

she

wai

ts, s

he

talk

s w

ith

th

e st

atio

nm

aste

r, t

he

per

son

wh

o m

anag

es t

he

stat

ion

.

1 M

ake

sure

yo

u u

nd

erst

and

wh

at y

ou

are

bei

ng

ask

ed. I

t m

ay h

elp

to

tu

rn t

he

stem

in

to a

qu

esti

on

. Th

en c

ircl

e ke

y w

ord

s in

th

e q

ues

tio

n.

Wha

t do

es t

he s

tatio

nmas

ter’s

figu

rativ

e lang

uage

in p

arag

raph

1 1

indica

te a

bout

Ann

e?

(E1.

2C)

8 A

NN

E: .

. .

. I

don

’t e

ver

expe

ct t

o be

a b

ride

mys

elf.

I’m t

oo h

omel

y. B

ut I

hop

e th

at s

omed

ay I

sha

ll ha

ve a

whi

te d

ress

. Th

at is

my

high

est

idea

l of ea

rthl

y bl

iss.

[A

n ol

der

man

, ve

ry t

enta

tive

and

shy,

ent

ers.

He

stan

ds d

iffid

ently

off

to

the

side

, lo

okin

g ar

ound

for

som

ethi

ng a

t fir

st,

and

then

foc

uses

in o

n Ann

e an

d he

ars

her

last

few

line

s.]

9 S

TAT

ION

MA

STE

R:

[See

s th

e m

an a

nd g

oes

to h

im.]

Abo

ut t

ime

you

got

here

, M

atth

ew.

10

MA

TTH

EW

: W

ill t

he 5

:30

trai

n be

long

?

11

STA

TIO

NM

AS

TER

: Bee

n in

and

gon

e ha

lf an

hou

r. [

Indi

catin

g Ann

e.]

Ther

e sh

e is

. [C

onfid

ently

.] S

he’s

a c

ase.

Got

a t

ongu

e ru

ns lo

nger

tha

n a

frei

ght

trai

n to

O

ttaw

a.

In

par

agra

ph 1

1, t

he s

tatio

nmas

ter

uses

figu

rativ

e la

ngua

ge t

o in

dica

te t

hat

Ann

e —

A

has

trav

eled

a lo

ng w

ay

B

talk

s to

o m

uch

C

has

a w

ild im

agin

atio

n

D

cann

ot b

e fu

lly t

rust

ed

STA

AR

En

glis

h I,

201

2, #

2


16E

ng

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I E

OC

Re

ad

ing

■ L

iter

ary

Text

s

Thin

k A

bo

ut

You

r Th

inki

ng

In t

he

char

t b

elo

w, n

ote

ho

w y

ou

eva

luat

ed e

ach

an

swer

ch

oic

e b

ased

on

th

e ev

iden

ce

in t

he

par

agra

ph

. On

e ev

alu

atio

n h

as b

een

co

mp

lete

d f

or

you

.

An

swer

C

ho

ices

Eval

uat

ion

Is a

nsw

er

sup

po

rted

?

FTh

e na

rrat

or is

tellin

g th

e st

ory

to M

arge

, so

the

read

er is

a

seco

ndha

nd w

itnes

s.no

G H J

Ind

ep

en

den

t Pra

ctic

e

You

will

hav

e th

e o

pp

ort

un

ity

to p

ract

ice

anal

yzin

g p

oin

t o

f vi

ew in

Fic

tio

n P

ract

ice

2.

The

read

er d

oes n

ot te

ll the

stor

y, so

this

is no

t the

corre

ct

answ

er.no

Yes,

we a

re lis

tenin

g to

, or o

bser

ving,

the

narra

tor a

s she

tells

th

e sto

ry to

Mar

ge, s

o we

bec

ome

third

-par

ty o

bser

vers.

yes

The

read

er d

oes n

ot p

artic

ipat

e in

the

story.

no

17

Re

ad

ing

Skil

l ■

Fict

ionRea

ding

Sk

ill 6

Unders

tandin

g H

isto

rica

l

or

Cult

ura

l Sett

ing

Wo

rks

wri

tten

or

set

in a

n e

arlie

r ti

me

per

iod

or

a d

ista

nt

pla

ce s

om

etim

es c

on

tain

u

nfa

mili

ar w

ord

s, p

hra

ses,

or

fig

ure

s o

f sp

eech

. So

me

of

thes

e cu

ltu

ral e

xpre

ssio

ns,

or

idio

ms,

may

hav

e a

mea

nin

g d

iffe

ren

t fr

om

th

e lit

eral

mea

nin

g o

f th

e w

ord

s. T

hes

e id

iom

s o

ften

exp

ress

th

e h

isto

rica

l or

cult

ura

l att

itu

des

of

the

char

acte

rs in

th

e st

ory

. C

on

text

clu

es a

nd

oth

er t

extu

al e

vid

ence

can

hel

p y

ou

dec

od

e th

e m

ean

ing

.

STA

AR

Str

ate

gy

Rea

d t

he

dra

ma

exce

rpt

and

qu

esti

on

bel

ow

. Th

en r

ead

th

e st

eps

for

answ

erin

g a

q

ues

tio

n li

ke t

his

. In

th

e ex

cerp

t, a

gir

l nam

ed A

nn

e is

wai

tin

g a

t a

trai

n s

tati

on

. As

she

wai

ts, s

he

talk

s w

ith

th

e st

atio

nm

aste

r, t

he

per

son

wh

o m

anag

es t

he

stat

ion

.

1 M

ake

sure

yo

u u

nd

erst

and

wh

at y

ou

are

bei

ng

ask

ed. I

t m

ay h

elp

to

tu

rn t

he

stem

in

to a

qu

esti

on

. Th

en c

ircl

e ke

y w

ord

s in

th

e q

ues

tio

n.

Wha

t do

es t

he s

tatio

nmas

ter’s

figu

rativ

e lang

uage

in p

arag

raph

1 1

indica

te a

bout

Ann

e?

(E1.

2C)

8 A

NN

E: .

. .

. I

don

’t e

ver

expe

ct t

o be

a b

ride

mys

elf.

I’m t

oo h

omel

y. B

ut I

hop

e th

at s

omed

ay I

sha

ll ha

ve a

whi

te d

ress

. Th

at is

my

high

est

idea

l of ea

rthl

y bl

iss.

[A

n ol

der

man

, ve

ry t

enta

tive

and

shy,

ent

ers.

He

stan

ds d

iffid

ently

off

to

the

side

, lo

okin

g ar

ound

for

som

ethi

ng a

t fir

st,

and

then

foc

uses

in o

n Ann

e an

d he

ars

her

last

few

line

s.]

9 S

TAT

ION

MA

STE

R:

[See

s th

e m

an a

nd g

oes

to h

im.]

Abo

ut t

ime

you

got

here

, M

atth

ew.

10

MA

TTH

EW

: W

ill t

he 5

:30

trai

n be

long

?

11

STA

TIO

NM

AS

TER

: Bee

n in

and

gon

e ha

lf an

hou

r. [

Indi

catin

g Ann

e.]

Ther

e sh

e is

. [C

onfid

ently

.] S

he’s

a c

ase.

Got

a t

ongu

e ru

ns lo

nger

tha

n a

frei

ght

trai

n to

O

ttaw

a.

In

par

agra

ph 1

1, t

he s

tatio

nmas

ter

uses

figu

rativ

e la

ngua

ge t

o in

dica

te t

hat

Ann

e —

A

has

trav

eled

a lo

ng w

ay

B

talk

s to

o m

uch

C

has

a w

ild im

agin

atio

n

D

cann

ot b

e fu

lly t

rust

ed

STA

AR

En

glis

h I,

201

2, #

2


16E

ng

lish

I E

OC

Re

ad

ing

■ L

iter

ary

Text

s

Thin

k A

bo

ut

You

r Th

inki

ng

In t

he

char

t b

elo

w, n

ote

ho

w y

ou

eva

luat

ed e

ach

an

swer

ch

oic

e b

ased

on

th

e ev

iden

ce

in t

he

par

agra

ph

. On

e ev

alu

atio

n h

as b

een

co

mp

lete

d f

or

you

.

An

swer

C

ho

ices

Eval

uat

ion

Is a

nsw

er

sup

po

rted

?

FTh

e na

rrat

or is

tellin

g th

e st

ory

to M

arge

, so

the

read

er is

a

seco

ndha

nd w

itnes

s.no

G H J

Ind

ep

en

den

t Pra

ctic

e

You

will

hav

e th

e o

pp

ort

un

ity

to p

ract

ice

anal

yzin

g p

oin

t o

f vi

ew in

Fic

tio

n P

ract

ice

2.

The

read

er d

oes n

ot te

ll the

stor

y, so

this

is no

t the

corre

ct

answ

er.no

Yes,

we a

re lis

tenin

g to

, or o

bser

ving,

the

narra

tor a

s she

tells

th

e sto

ry to

Mar

ge, s

o we

bec

ome

third

-par

ty o

bser

vers.

yes

The

read

er d

oes n

ot p

artic

ipat

e in

the

story.

no

17

Re

ad

ing

Skil

l ■

Fict

ionRea

ding

Sk

ill 6

Unders

tandin

g H

isto

rica

l

or

Cult

ura

l Sett

ing

Wo

rks

wri

tten

or

set

in a

n e

arlie

r ti

me

per

iod

or

a d

ista

nt

pla

ce s

om

etim

es c

on

tain

u

nfa

mili

ar w

ord

s, p

hra

ses,

or

fig

ure

s o

f sp

eech

. So

me

of

thes

e cu

ltu

ral e

xpre

ssio

ns,

or

idio

ms,

may

hav

e a

mea

nin

g d

iffe

ren

t fr

om

th

e lit

eral

mea

nin

g o

f th

e w

ord

s. T

hes

e id

iom

s o

ften

exp

ress

th

e h

isto

rica

l or

cult

ura

l att

itu

des

of

the

char

acte

rs in

th

e st

ory

. C

on

text

clu

es a

nd

oth

er t

extu

al e

vid

ence

can

hel

p y

ou

dec

od

e th

e m

ean

ing

.

STA

AR

Str

ate

gy

Rea

d t

he

dra

ma

exce

rpt

and

qu

esti

on

bel

ow

. Th

en r

ead

th

e st

eps

for

answ

erin

g a

q

ues

tio

n li

ke t

his

. In

th

e ex

cerp

t, a

gir

l nam

ed A

nn

e is

wai

tin

g a

t a

trai

n s

tati

on

. As

she

wai

ts, s

he

talk

s w

ith

th

e st

atio

nm

aste

r, t

he

per

son

wh

o m

anag

es t

he

stat

ion

.

1 M

ake

sure

yo

u u

nd

erst

and

wh

at y

ou

are

bei

ng

ask

ed. I

t m

ay h

elp

to

tu

rn t

he

stem

in

to a

qu

esti

on

. Th

en c

ircl

e ke

y w

ord

s in

th

e q

ues

tio

n.

Wha

t do

es t

he s

tatio

nmas

ter’s

figu

rativ

e lang

uage

in p

arag

raph

1 1

indica

te a

bout

Ann

e?

(E1.

2C)

8 A

NN

E: .

. .

. I

don

’t e

ver

expe

ct t

o be

a b

ride

mys

elf.

I’m t

oo h

omel

y. B

ut I

hop

e th

at s

omed

ay I

sha

ll ha

ve a

whi

te d

ress

. Th

at is

my

high

est

idea

l of ea

rthl

y bl

iss.

[A

n ol

der

man

, ve

ry t

enta

tive

and

shy,

ent

ers.

He

stan

ds d

iffid

ently

off

to

the

side

, lo

okin

g ar

ound

for

som

ethi

ng a

t fir

st,

and

then

foc

uses

in o

n Ann

e an

d he

ars

her

last

few

line

s.]

9 S

TAT

ION

MA

STE

R:

[See

s th

e m

an a

nd g

oes

to h

im.]

Abo

ut t

ime

you

got

here

, M

atth

ew.

10

MA

TTH

EW

: W

ill t

he 5

:30

trai

n be

long

?

11

STA

TIO

NM

AS

TER

: Bee

n in

and

gon

e ha

lf an

hou

r. [

Indi

catin

g Ann

e.]

Ther

e sh

e is

. [C

onfid

ently

.] S

he’s

a c

ase.

Got

a t

ongu

e ru

ns lo

nger

tha

n a

frei

ght

trai

n to

O

ttaw

a.

In

par

agra

ph 1

1, t

he s

tatio

nmas

ter

uses

figu

rativ

e la

ngua

ge t

o in

dica

te t

hat

Ann

e —

A

has

trav

eled

a lo

ng w

ay

B

talk

s to

o m

uch

C

has

a w

ild im

agin

atio

n

D

cann

ot b

e fu

lly t

rust

ed

STA

AR

En

glis

h I,

201

2, #

2



19

Re

ad

ing

Skil

l ■

Fict

ion

Thin

k A

bo

ut

You

r Th

inki

ng

In t

he

char

t b

elo

w, n

ote

ho

w y

ou

use

d t

he

evid

ence

in t

he

par

agra

ph

to

hel

p y

ou

ch

oo

se t

he

answ

er. O

ne

line

has

bee

n c

om

ple

ted

fo

r yo

u.

An

swer

C

ho

ices

Text

ual

Evi

den

ceIs

an

swer

su

pp

ort

ed?

F“H

ere

it co

mes

” mea

ns w

hat

it sa

ys—h

ere

comes

the

ball. But

this

expr

essio

n co

uld

apply

to

anyt

hing

, not

just

bas

eball.

no

G H J

Ind

ep

en

den

t Pra

ctic

e

You

will

hav

e th

e o

pp

ort

un

ity

to p

ract

ice

un

der

stan

din

g a

wo

rk’s

cu

ltu

ral a

nd

h

isto

rica

l set

tin

g in

Fic

tio

n P

ract

ice

2.

Thes

e wo

rds s

eem

per

sona

l, no

t tra

ditio

nal.

no

Uncle

Cor

an ch

ants

in “

the

ancie

nt si

ngso

ng o

f ball

playe

rs.”

yes

Thes

e wo

rds c

ould

app

ly to

any

one

who

is sh

owing

som

eone

els

e ho

w to

do

som

ethin

g.no

18E

ng

lish

I E

OC

Re

ad

ing

■ L

iter

ary

Text

s

2 T

ry a

nsw

erin

g t

he

qu

esti

on

in y

ou

r h

ead

.

The

stat

ionm

aste

r sa

ys s

omet

hing

str

ange

: “Got

a ton

gue

runs

long

er t

han

a fr

eigh

t tr

ain

to O

ttaw

a.” I’m n

ot s

ure

wha

t th

at m

eans

—it m

ust

be a

figu

re o

f sp

eech

. May

be s

he talks

a lo

t or

tries

to

trick

peop

le?

3 C

on

firm

yo

ur

answ

er a

mo

ng

th

e an

swer

ch

oic

es. I

f yo

ur

answ

er d

oes

n’t

mat

ch u

p,

loo

k fo

r ev

iden

ce in

th

e te

xt t

o s

up

po

rt o

ne

of

the

resp

on

ses

giv

en.

Bot

h B a

nd D

see

m like

my

answ

ers.

Rea

ding

par

agra

ph 8

, I d

on’t

get

the

feeling

that

Ann

e is

untr

ustw

orth

y. It

just

see

ms

as if

she

talks

on

and

on. F

or

inst

ance

, why

is s

he talking

to

the

stat

ionm

aste

r ab

out

being

a br

ide?

I th

ink

choice

B is

cor

rect

.

Gu

ided

Pra

ctic

e

Rea

d t

he

sele

ctio

n a

nd

th

en r

esp

on

d t

o t

he

qu

esti

on

. Fo

llow

th

e ST

AA

R s

trat

egy

on

th

e p

revi

ou

s p

age.

“

Oka

y, D

oc,”

Unc

le Z

eno

says

. “K

eep

your

eye

on

the

ball.

Her

e it

com

es.”

Th

e ba

seba

ll in

Unc

le Z

eno’

s ha

nd is

alm

ost

invi

sibl

e, a

pie

ce o

f sm

oke,

a s

hado

w.

The

woo

ds o

n th

e fa

r si

de o

f th

e pa

stur

e ar

e al

read

y da

rk a

s sl

eep;

the

riv

er t

wis

ts

thro

ugh

them

by

mem

ory.

Unc

le Z

eno

toss

es t

he b

all g

ently

tow

ard

the

boy,

who

do

es n

ot s

ee it

unt

il its

arc

carr

ies

it ab

ove

the

blac

k lin

e of

tre

es,

whe

re it

han

gs f

or a

m

omen

t lik

e an

ecl

ipse

in t

he f

aint

ly g

low

ing

sky.

The

boy

is a

rm-w

eary

; he

sw

ings

as

hard

as

he is

abl

e. T

he b

at a

nd b

all c

ollid

e w

eakl

y. T

he b

all d

rops

to

the

grou

nd a

t th

e bo

y’s

feet

. It

lies

the

re s

tunn

ed,

quiv

erin

g, c

onta

inin

g fli

ght

bene

ath

its

smoo

th s

kin.

Th

e bo

y sw

itche

s th

e ba

t in

to h

is le

ft h

and,

pic

ks u

p th

e ba

ll w

ith h

is r

ight

, an

d th

row

s it

back

to

Unc

le Z

eno.

“I

hit

it ju

st a

bout

eve

ry t

ime,

” th

e bo

y sa

ys.

“B

atte

r, b

atte

r, b

atte

r, b

atte

r,” U

ncle

Al c

hirp

s in

the

fie

ld.

“S

ay,

wha

tta-

say,

wha

tta-

say,

wha

tta-

say,

” ch

ants

Unc

le C

oran

in t

he a

ncie

nt s

ings

ong

of b

allp

laye

rs.

The

uncl

es a

re s

ingi

ng t

o th

e bo

y. H

e ha

s ne

ver

hear

d an

ythi

ng s

o be

autif

ul.

He

does

not

wan

t it

to s

top.

“O

kay,

Doc

,” s

ays

Unc

le Z

eno.

“O

ne m

ore.

Now

wat

ch.”

W

hich

of th

e fo

llow

ing

is a

n ex

ampl

e of

an

expr

essi

on r

elat

ed t

o th

e ga

me

of b

aseb

all?

F “H

ere

it co

mes

.”

G

“I h

it it

just

abo

ut e

very

tim

e”

H

“Say

, w

hatt

a-sa

y, w

hatt

a-sa

y, w

hatt

a-sa

y”

J “O

ne m

ore.

Now

wat

ch.”

G H

J

F

© Sirius Education Solutions Reading Skill ■ Fiction 18–19


20E

ng

lish

I E

OC

Re

ad

ing

■ L

iter

ary

Text

s

Rea

ding

P

ract

ice

Fic

tion 1

Act

ive

Rea

din

gA

s You R

ead

In t

he m

argi

n, w

rite

a C

(for

ch

arac

ter)

nex

t to

dia

logu

e or

de

tails

tha

t he

lp y

ou u

nder

stan

d w

hat

char

acte

rs a

re t

hink

ing

or f

eelin

g. U

nder

line

and

writ

e a

P (fo

r pl

ot) n

ext

to e

vent

s or

co

nflic

t th

at t

he a

utho

r us

es t

o de

velo

p th

e pl

ot.

VO

CA

BU

LAR

Y

Read

inva

riabl

y in

par

agra

ph 3

an

d th

ink

abou

t its

mea

ning

. Br

eak

the

wor

d in

to w

ord

part

s th

at y

ou k

now

. The

suf

fix –

ly

mea

ns “

in a

way

tha

t is

.” W

hat

does

the

pre

fix in

– m

ean?

Wha

t de

finiti

on f

or in

varia

bly

can

you

com

e up

with

look

ing

at w

ord

part

s?

Rea

d t

he

sele

ctio

n a

nd

ch

oo

se t

he

bes

t an

swer

to

eac

h q

ues

tio

n.

from

Th

e O

pen

Boa

tby

Ste

phen

Cra

ne

1

N

one

of t

hem

kne

w t

he c

olor

of th

e sk

y. T

heir e

yes

glan

ced

leve

l, an

d w

ere

fast

ened

upo

n th

e w

aves

tha

t sw

ept

tow

ard

them

. Th

ese

wav

es w

ere

of t

he h

ue o

f sl

ate,

sav

e fo

r th

e to

ps,

whi

ch w

ere

of f

oam

ing

whi

te,

and

all o

f th

e m

en k

new

the

col

ors

of t

he s

ea.

The

hori

zon

narr

owed

and

wid

ened

, an

d di

pped

and

ros

e,

and

at a

ll tim

es it

s ed

ge w

as jag

ged

with

wav

es t

hat

seem

ed t

hrus

t up

in p

oint

s lik

e ro

cks.

2

Man

y a

man

oug

ht t

o ha

ve a

bat

h-tu

b la

rger

tha

n th

e bo

at w

hich

her

e ro

de u

pon

the

sea.

The

se w

aves

w

ere

mos

t w

rong

fully

and

bar

baro

usly

abr

upt

and

tall,

and

eac

h fr

oth-

top

was

a p

robl

em in

sm

all b

oat

navi

gatio

n.

3

The

cook

squ

atte

d in

the

bot

tom

and

look

ed w

ith

both

eye

s at

the

six

inch

es o

f gu

nwal

e w

hich

sep

arat

ed

him

fro

m t

he o

cean

. H

is s

leev

es w

ere

rolle

d ov

er h

is

fat

fore

arm

s, a

nd t

he t

wo

flaps

of hi

s un

butt

oned

ves

t da

ngle

d as

he

bent

to

bail

out

the

boat

. O

ften

he

said

: “G

awd!

Tha

t w

as a

nar

row

clip

.” A

s he

rem

arke

d it

he

inva

riab

ly g

azed

eas

twar

d ov

er t

he b

roke

n se

a.

4

The

oile

r1 , s

teer

ing

with

one

of th

e tw

o oa

rs in

the

bo

at,

som

etim

es r

aise

d hi

mse

lf su

dden

ly t

o ke

ep c

lear

of

wat

er t

hat

swir

led

in o

ver

the

ster

n. I

t w

as a

thi

n lit

tle

oar

and

it se

emed

oft

en r

eady

to

snap

.

5

Th

e co

rres

pond

ent2 ,

pul

ling

at t

he o

ther

oar

, w

atch

ed t

he w

aves

and

won

dere

d w

hy h

e w

as t

here

.

6

Th

e in

jure

d ca

ptai

n, ly

ing

in t

he b

ow,

was

at

this

tim

e bu

ried

in t

hat

prof

ound

dej

ectio

n an

d in

diff

eren

ce

whi

ch c

omes

, te

mpo

rari

ly a

t le

ast,

to

even

the

bra

vest

an

d m

ost

endu

ring

whe

n, w

illy-

nilly

, th

e fir

m f

ails

, th

e ar

my

lose

s, t

he s

hip

goes

dow

n. T

he m

ind

of t

he m

aste

r of

a v

esse

l is

root

ed d

eep

in t

he t

imbe

rs o

f he

r, t

houg

h he

com

man

ded

for

a da

y or

a d

ecad

e, a

nd t

his

capt

ain

1 som

eone

who

oils

the

mac

hine

ry o

f a

ship

2 a re

port

er

In a

way

that

is n

ot

varia

ble;

cons

tant

ly

P CC C

21

Re

ad

ing

Pra

ctic

e ■

Fic

tio

n

FIG

UR

ATI

VE

LAN

GU

AG

E

Wha

t is

the

boa

t co

mpa

red

to

in p

arag

raph

9?

How

doe

s th

is

met

apho

r he

lp t

o de

velo

p th

e st

ory’

s se

ttin

g?

had

on h

im t

he s

tern

impr

essi

on o

f a

scen

e in

the

gre

ys

of d

awn

of s

even

tur

ned

face

s, a

nd la

ter

a st

ump

of a

to

p-m

ast

with

a w

hite

bal

l on

it th

at s

lash

ed t

o an

d fr

o at

the

wav

es,

wen

t lo

w a

nd lo

wer

, an

d do

wn.

The

reaf

ter

ther

e w

as s

omet

hing

str

ange

in h

is v

oice

. Alth

ough

st

eady

, it

was

dee

p w

ith m

ourn

ing,

and

of a

qual

ity

beyo

nd o

ratio

n or

tea

rs.

7

“K

eep

‘er

a lit

tle m

ore

sout

h, B

illie

,” s

aid

he.

8

“’A

litt

le m

ore

sout

h,’ s

ir,”

said

the

oile

r in

the

ste

rn.

9

A s

eat

in t

his

boat

was

not

unl

ike

a se

at u

pon

a bu

ckin

g br

onco

, an

d, b

y th

e sa

me

toke

n, a

bro

nco

is

not

muc

h sm

alle

r. T

he c

raft

pra

nced

and

rea

red,

and

pl

unge

d lik

e an

ani

mal

. A

s ea

ch w

ave

cam

e, a

nd s

he

rose

for

it,

she

seem

ed li

ke a

hor

se m

akin

g at

a f

ence

ou

trag

eous

ly h

igh.

The

man

ner

of h

er s

cram

ble

over

th

ese

wal

ls o

f w

ater

is a

mys

tic t

hing

, an

d, m

oreo

ver,

at t

he t

op o

f th

em w

ere

ordi

nari

ly t

hese

pro

blem

s in

w

hite

wat

er,

the

foam

rac

ing

dow

n fr

om t

he s

umm

it of

ea

ch w

ave,

req

uiri

ng a

new

leap

, an

d a

leap

fro

m t

he a

ir.

Then

, af

ter

scor

nful

ly b

umpi

ng a

cre

st,

she

wou

ld s

lide,

an

d ra

ce,

and

spla

sh d

own

a lo

ng in

clin

e, a

nd a

rriv

e bo

bbin

g an

d no

ddin

g in

fro

nt o

f th

e ne

xt m

enac

e.

10

A s

ingu

lar

disa

dvan

tage

of th

e se

a lie

s in

the

fac

t th

at a

fter

suc

cess

fully

sur

mou

ntin

g on

e w

ave

you

disc

over

tha

t th

ere

is a

noth

er b

ehin

d it

just

as

impo

rtan

t an

d ju

st a

s ne

rvou

sly

anxi

ous

to d

o so

met

hing

eff

ectiv

e in

the

way

of sw

ampi

ng b

oats

. In

a t

en-f

oot

ding

er o

ne

can

get

an id

ea o

f th

e re

sour

ces

of t

he s

ea in

the

line

of

wav

es t

hat

is n

ot p

roba

ble

to t

he a

vera

ge e

xper

ienc

e th

at is

nev

er a

t se

a in

a d

ingh

y. A

s ea

ch s

alty

wal

l of

wat

er a

ppro

ache

d, it

shu

t al

l els

e fr

om t

he v

iew

of th

e m

en in

the

boa

t, a

nd it

was

not

diff

icul

t to

imag

ine

that

th

is p

artic

ular

wav

e w

as t

he f

inal

out

burs

t of

the

oce

an,

the

last

eff

ort

of t

he g

rim

wat

er.

Ther

e w

as a

ter

ribl

e gr

ace

in t

he m

ove

of t

he w

aves

, an

d th

ey c

ame

in

sile

nce,

sav

e fo

r th

e sn

arlin

g of

the

cre

sts.

...

11

In

dis

join

ted

sent

ence

s th

e co

ok a

nd t

he

corr

espo

nden

t ar

gued

as

to t

he d

iffer

ence

bet

wee

n a

life-

savi

ng s

tatio

n an

d a

hous

e of

ref

uge.

The

coo

k ha

d sa

id:

“The

re’s

a h

ouse

of re

fuge

jus

t no

rth

of t

he

Mos

quito

Inl

et L

ight

, an

d as

soo

n as

the

y se

e us

, th

ey’ll

co

me

off in

the

ir b

oat

and

pick

us

up.”

12

“A

s so

on a

s w

ho s

ee u

s?”

said

the

cor

resp

onde

nt.

13

“T

he c

rew

,” s

aid

the

cook

.

The

boat

is co

mpa

red

to a

wild

hor

se, a

nd it

m

akes

the

setti

ng se

em

wild

, unp

redic

tabl

e, an

d da

nger

ous.

C

P P C



22E

ng

lish

I E

OC

Re

ad

ing

■ L

iter

ary

Text

s

14

“H

ouse

s of

ref

uge

don’

t ha

ve c

rew

s,”

said

the

co

rres

pond

ent.

“A

s I

unde

rsta

nd t

hem

, th

ey a

re o

nly

plac

es w

here

clo

thes

and

gru

b ar

e st

ored

for

the

ben

efit

of s

hipw

reck

ed p

eopl

e. T

hey

don’

t ca

rry

crew

s.”

15

“O

h, y

es,

they

do,

” sa

id t

he c

ook.

16

“N

o, t

hey

don’

t,”

said

the

cor

resp

onde

nt.

17

“W

ell,

we’

re n

ot t

here

yet

, an

yhow

,” s

aid

the

oile

r, in

th

e st

ern.

18

“W

ell,”

sai

d th

e co

ok,

“per

haps

it’s

not

a h

ouse

of

refu

ge t

hat

I’m t

hink

ing

of a

s be

ing

near

Mos

quito

Inl

et

Ligh

t. P

erha

ps it

’s a

life

-sav

ing

stat

ion.

”

19

“We’

re n

ot t

here

yet

,” s

aid

the

oile

r, in

the

ste

rn.

C

ourt

esy

of t

he a

rtis

t, R

ober

t Q

uack

enbu

sh.

CH

AR

AC

TER

Wha

t re

mar

k do

es t

he o

iler

mak

e in

par

agra

phs

17 a

nd 1

9?

Why

do

you

thin

k he

rep

eats

hi

mse

lf?

AN

ALY

ZE I

MA

GES

Wha

t do

es t

he im

age

reve

al

abou

t th

e st

ory’

s se

ttin

g? W

rite

dow

n so

me

thin

gs y

ou le

arn

abou

t th

e st

ory

or c

hara

cter

s fr

om lo

okin

g at

the

woo

dcut

dr

awin

g.

The

oiler

rem

arks

twice

th

at th

ey h

ave

not

reac

hed

a sp

ecifi

c plac

e. He

is p

ointin

g ou

t tha

t it

does

not

mat

ter w

hat

they

call t

he p

lace

they

ar

e he

aded

, the

y mus

t ge

t the

re fi

rst.

We

see

the

boat

is

small

and

so th

e m

en

are

not s

afe.

The

men

lo

ok ti

red

and

worri

ed.

C

Reading Practice ■ Fiction© Sirius Education Solutions 22

No

tes


23

Re

ad

ing

Pra

ctic

e ■

Fic

tio

n

1

Rea

d th

e fo

llow

ing

from

par

agra

ph 1

. (E

1.5

Fig.

19B

)

Thes

e w

aves

wer

e of

the

hue

of sl

ate,

sav

e fo

r th

e to

ps,

whi

ch w

ere

of f

oam

ing

whi

te,

and

all o

f th

e m

en

knew

the

col

ors

of t

he s

ea.

The

read

er c

an in

fer

from

thi

s lin

e th

at t

he c

hara

cter

s —

A

are

happ

y to

be

on t

he o

pen

wat

er

B

have

str

ong

visu

al m

emor

ies

C

have

all

been

to

sea

befo

re

D

are

expe

rien

ced

fishe

rmen

2

In p

arag

raph

3,

the

wor

d in

vari

ably

mea

ns —

(E

1.1B

)

F co

nsta

ntly

G

wor

ried

ly

H

nerv

ousl

y

J re

sent

fully

3

From

par

agra

ph 6

, th

e re

ader

can

infe

r th

at t

he c

apta

in —

(E

1.5B

)

A

had

prev

ious

ly f

ough

t in

a w

ar

B

has

lost

his

min

d

C

is n

ot r

espe

cted

by

his

crew

D

is d

epre

ssed

ove

r th

e lo

ss o

f hi

s sh

ip

English I EOC Reading ■ Literary Texts © Sirius Education Solutions

An

swer

Ch

oic

e Ex

pla

nat

ion

s

1

A T

here

is n

o ev

iden

ce t

o su

gges

t th

e m

en a

re h

appy

to

be o

n th

e op

en w

ater

. The

ir fe

elin

gs a

re n

ot d

iscu

ssed

.

B I

t is

not

nec

essa

ry f

or t

he m

en t

o ha

ve s

tron

g vi

sual

mem

orie

s fo

r th

em t

o be

fam

iliar

with

the

col

ors

of t

he s

ea.

C

Cor

rect

. The

line

say

s “a

ll of

the

men

kne

w t

he c

olor

s of

the

se

a,”

sugg

estin

g th

at t

hey’

ve b

een

out

to s

ea b

efor

e.

D I

t ca

n be

infe

rred

tha

t th

e m

en h

ave

been

out

to

sea

befo

re, b

ut

not

that

the

y ar

e fis

herm

en.

2

F C

orre

ct. I

nvar

iabl

y is

an

adve

rb c

ompr

isin

g th

e pr

efix

in–

(“no

t”)

and

the

stem

var

iabl

e (“

chan

geab

le”)

. Som

ethi

ng t

hat

is d

one

inva

riabl

y is

don

e co

nsta

ntly

.

G W

hile

the

cha

ract

er m

ay b

e w

orrie

d, h

is a

ct o

f ga

zing

out

to

the

sea

is n

ot d

one

wor

riedl

y bu

t in

stea

d do

ne c

onst

antly

whi

le h

e sp

eaks

.

H I

nvar

iabl

y do

es n

ot m

ean

“ner

vous

ly.”

J

Inva

riabl

y ne

ver

mea

ns “

rese

ntfu

lly.”

3

A A

shi

p go

ing

dow

n is

com

pare

d to

an

arm

y lo

sing

in t

his

para

grap

h, b

ut t

here

is n

o ev

iden

ce t

o su

gges

t th

at t

he c

apta

in

has

pers

onal

exp

erie

nce

of t

he la

tter

.

B A

lthou

gh t

he p

assa

ge d

escr

ibes

how

the

min

d of

a c

apta

in is

ro

oted

in t

he t

imbe

rs o

f th

e sh

ip, t

his

is p

urel

y fig

urat

ive

and

ther

e is

no

evid

ence

to

sugg

est

the

capt

ain

has

“los

t hi

s m

ind”

(i.

e., g

one

craz

y).

C

The

re is

no

men

tion

in t

his

para

grap

h of

how

the

cap

tain

’s c

rew

re

spon

ds t

o hi

m.

D

Cor

rect

. The

cap

tain

is d

escr

ibed

as

bein

g bu

ried

in t

he

“pro

foun

d de

ject

ion”

(a s

ynon

ym f

or d

epre

ssio

n), w

hich

hap

pens

w

hen

“the

shi

p go

es d

own.

”

23


24

En

gli

sh I

EO

C R

ea

din

g ■

Lit

erar

y Te

xts

4

Rea

d th

e fo

llow

ing

from

par

agra

ph 9

. (E

1.7

Fig.

19B

)

A s

eat

in t

his

boat

was

not

unl

ike

a se

at u

pon

a bu

ckin

g br

onco

, an

d, b

y th

e sa

me

toke

n, a

bro

nco

is n

ot m

uch

smal

ler. T

he c

raft

pra

nced

and

rea

red,

and

plu

nged

like

an

ani

mal

. As

each

wav

e ca

me,

and

she

ros

e fo

r it,

she

se

emed

like

a h

orse

mak

ing

at a

fen

ce o

utra

geou

sly

high

.

The

auth

or u

ses

figur

ativ

e la

ngua

ge in

thi

s pa

ragr

aph

to s

how

—

F th

e ch

arac

ters

are

like

cow

boys

G

the

sett

ing

is d

ange

rous

H

the

sailo

rs’ a

dven

ture

is e

xciti

ng

J th

e bo

at h

as a

min

d of

its

own

5

In p

arag

raph

s 11

thr

ough

19,

wha

t ro

le d

oes

the

oile

r pl

ay in

the

dev

elop

men

t of

the

sto

ry?

(E

1.5B

)

A

He

shar

es h

is k

now

ledg

e ab

out

hous

es o

f re

fuge

.

B

He

offe

rs a

pes

sim

istic

out

look

.

C

He

acts

as

a re

alis

t an

d is

con

cern

ed w

ith t

he p

rese

nt.

D

He

trie

s to

set

tle t

he a

rgum

ent

betw

een

the

othe

rs o

n th

e bo

at.

6

Whi

ch d

etai

l is

emph

asiz

ed m

ore

in t

he w

oodc

ut t

han

it is

in t

he s

tory

? (E

1.12

A)

F Th

e ca

ptai

n’s

moo

d

G

The

size

of th

e bo

at

H

The

cond

ition

s at

sea

J Th

e re

latio

nshi

p be

twee

n th

e sa

ilors

Reading Practice ■ Fiction© Sirius Education Solutions

An

swer

Ch

oic

e Ex

pla

nat

ion

s

4

F Th

e au

thor

use

s ro

deo

imag

ery

not

to s

ugge

st t

hat

the

sett

ing

is s

imila

r to

a r

odeo

, but

to

illus

trat

e th

at t

he s

ettin

g is

wild

and

da

nger

ous.

G

Cor

rect

. The

imag

e of

the

boa

t bu

ckin

g lik

e a

bron

co, p

ranc

ing

and

rear

ing,

and

ris

ing

for

each

wav

e “l

ike

a ho

rse

mak

ing

at a

fe

nce

outr

ageo

usly

hig

h” il

lust

rate

s th

e da

nger

ous

posi

tion

the

boat

’s o

ccup

ants

are

in.

H

The

figu

rativ

e la

ngua

ge is

use

d to

mak

e th

e se

ttin

g se

em w

ild t

o th

e po

int

of b

eing

dan

gero

us, n

ot e

xciti

ng.

J

The

auth

or u

ses

anim

al im

ager

y to

illu

stra

te h

ow w

ild a

nd

dang

erou

s th

e se

ttin

g is

, not

to

sugg

est

that

it is

lite

rally

like

an

anim

al.

5

A T

he c

orre

spon

dent

sha

res

his

know

ledg

e ab

out

hous

es o

f re

fuge

, no

t th

e oi

ler.

B

“W

e’re

not

the

re y

et”

is a

sta

tem

ent

of f

act;

it is

nei

ther

in

here

ntly

pes

sim

istic

nor

opt

imis

tic. I

t is

a r

emin

der

of t

he r

ealit

y of

the

situ

atio

n.

C C

orre

ct. T

he o

iler

tells

his

fel

low

cre

wm

embe

rs t

wic

e, “

We’

re n

ot

ther

e ye

t,” p

oint

ing

out

the

futil

ity o

f ar

guin

g ab

out

the

hous

e of

re

fuge

bef

ore

they

kno

w if

the

y’ll

even

mak

e it

ther

e.

D T

he o

iler

does

not

get

invo

lved

in t

he a

rgum

ent

or t

ry t

o st

op it

; he

mer

ely

poin

ts o

ut t

he r

ealit

y of

the

situ

atio

n.

6

F It

is d

ifficu

lt to

det

erm

ine

anyt

hing

abo

ut t

he c

apta

in’s

moo

d fr

om t

he w

oodc

ut, b

ut it

is d

iscu

ssed

in g

reat

det

ail i

n th

e st

ory

(par

agra

ph 6

).

G C

orre

ct. I

t is

imm

edia

tely

cle

ar f

rom

look

ing

at t

he w

oodc

ut

that

the

boa

t is

tin

y co

mpa

red

to t

he w

aves

, but

the

phy

sica

l de

scrip

tion

of t

he b

oat

is m

ore

of a

min

or p

oint

in t

he s

tory

.

H T

he c

ondi

tions

at

sea

are

emph

asiz

ed g

reat

ly b

oth

in t

he

woo

dcut

(the

larg

e w

aves

) and

the

sto

ry (p

arag

raph

9).

J

It is

diffi

cult

to d

eter

min

e an

ythi

ng a

bout

the

rel

atio

nshi

p be

twee

n th

e sa

ilors

fro

m t

he w

oodc

ut, b

ut it

is d

iscu

ssed

in

para

grap

hs 1

1 th

roug

h 19

of

the

stor

y.

24


9 781943 008629Printed in Texas on recycled paper.

ENGLISH I EOC READINGSTAAR® Preparation and Practice


• 31 passages with over 180 authentic STAAR questions

• 18 reading skills with STAAR Strategies

• 3-step approach for efficient remediation

ENG

LISH I EO

C READ

ING

STAA

R Preparation and Practice

1: Literary TextsFiction


DramaDiagnostic Test, Reading Skills & Practice,Post Test

Literary NonfictionDiagnostic Test, Reading Skills & Practice,Post Test

PoetryDiagnostic Test, Reading Skills & Practice,Post Test

2: Informational TextsExpository


PersuasiveDiagnostic Test, Reading Skills & Practice,Post Test

3: Paired TextsDiagnostic Test, Reading Skills & Practice,Post Test

ENGLISH I EOC READING CONTENTS

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2017 UPDATE

2017 UPDATE


Written Composition

STUDENTS MAY NOT WRITE OUTSIDE OF THE BOX

Page 1 © Sirius Education Solutions

1 A DB C

2 F JG H

3 A DB C

4 F JG H

5 A DB C

6 F JG H

7 A DB C

8 F JG H

9 A DB C

10 F JG H

11 A DB C

12 F JG H

13 A DB C

14 F JG H

15 A DB C

16 F JG H

17 A DB C

18 F JG H

19 A DB C

20 F JG H

21 A DB C

22 F JG H

23 A DB C

24 F JG H

25 A DB C

26 F JG H

Name Class Date Form

STAAR English I Practice Test Student Answer Sheet

27 A DB C

28 F JG H

29 A DB C

30 F JG H

31 A DB C

32 F JG H

33 A DB C

34 F JG H

35 A DB C

36 F JG H

37 A DB C

38 F JG H

39 A DB C

40 F JG H

41 A DB C

42 F JG H

43 A DB C

44 F JG H

45 A DB C

46 F JG H

47 A DB C

48 F JG H

49 A DB C

50 F JG H

51 A DB C

52 F JG H

2017 UPDATE


STAAR® ENGLISH IPractice Test—Form B

2017 UPDATE


STAAR® ENGLISH IPractice Test—Form A

2017 UPDATE


STAAR® ENGLISH IPractice Test—Forms A & BTeacher’s Edition

Table of Contents Form A

Answer Key 1 Composition Sample Responses 2 Answer Explanations 4

Form B Answer Key 12 Composition Sample Responses 13 Answer Explanations 15

References STAAR English I Expository Compositions 22 Tips for Grading Expository Responses 24 Student Answer Sheet 26

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Practice Test – Form A Answer Key

© Sirius Education Solutions 1

Item Number

Reporting Category

Readiness or Supporting

Content Student Expectation

Correct Answer

1 5 Supporting E1.16(A) C 2 5 Supporting E1.16(A) G 3 5 Readiness E1.13(C) A 4 5 Readiness E1.13(C) G 5 5 Readiness E1.13(C) D 6 5 Supporting E1.15(A) F 7 5 Readiness E1.13(C) B 8 5 Readiness E1.13(C) H 9 5 Supporting E1.15(A) D 10 6 Readiness E1.19(A) G 11 6 Readiness E1.13(D) A 12 6 Readiness E1.17(C) J 13 6 Supporting E1.18(B) B 14 6 Supporting E1.18(B) G 15 6 Readiness E1.17(C) A 16 6 Readiness E1.19(A) H 17 6 Supporting E1.18(B) A 18 6 Supporting E1.17(A) G 19 2 Readiness E1.5(B) C 20 1 Readiness E1.1(B) G 21 2 Supporting E1.2(C) C 22 2 Readiness E1.5(B) G 23 2 Readiness E1.5(B) A 24 2 Supporting E1.7 Fig. 19(B) H 25 1 Readiness E1.1(B) B 26 3 Readiness E1.8(A) H 27 3 Readiness E1.9(C) A 28 3 Readiness E1.9(C) G 29 3 Readiness E1.9(C) D 30 3 Readiness E1.9(C) J 31 3 Supporting E1.12 Fig 19(B) B 32 3 Readiness E1.9(C) F 33 1 Readiness Fig. 19(B) D 34 1 Readiness Fig. 19(B) G 35 1 Readiness Fig. 19(B) C 36 1 Readiness Fig. 19(B) H 37 2 Supporting E1.4(A) D 38 2 Supporting E1.4(A) H 39 2 Supporting E1.4(A) A 40 2 Supporting Fig. 19(B) J 41 2 Supporting E1.4(A) A 42 2 Supporting E1.4(A) H 43 2 Supporting E1.2B B 44 2 Supporting Fig. 19(B) F 45 2 Supporting Fig. 19(B) B 46 1 Readiness E1.1(B) H 47 2 Supporting E1.2B C 48 2 Supporting E1.6(A) F 49 2 Supporting Fig. 19(B) B 50 2 Supporting E1.6(A) F 51 2 Supporting Fig. 19(B) C 52 1 Readiness E1.1E J

Practice Test – Form A Answer Explanations

4 © Sirius Education Solutions

1 A This sentence states a fact but does not state the writer’s position.

B This sentence is unnecessarily harsh and accusative and might turn off readers.

C Correct. The position statement clarifies the focus of the paper, making it clear why Monika wants readers to support water conservation.

D This sentence focuses on the writer and does not effectively influence the reader.

2 F This personal anecdote supports the idea

that the summer of 2011 was hot, but not the hottest.

G Correct. This sentence provides statistical evidence to prove that the summer of 2011 was the hottest.

H This fact is common knowledge and does very little to support sentence 8.

J This fact is interesting, but not relevant to sentence 8 since it discusses water, not temperature.

3 A Correct. The pronoun referent of they

is unclear, so it’s best to replace they with The wildfires.

B Demolish means “to knock down.” Fires typically consume things, rather than knock them down.

C It is unclear whether all the homes destroyed were houses, so this replacement is problematic.

D Inhabitants is awkwardly formal for this context.

4 F Changing sentence 34 into an introductory

clause using when creates an inappropriate causal relationship between the ideas in the original two sentences.

G Correct. The revised sentence correctly uses a semicolon to join two independent clauses. The adverb similarly strengthens the connection between the subjects of each clause.

H The revised sentence incorrectly uses a compound subject, farmers and ranchers, because ranchers do not lose money when their crops fail and farmers do not have to spend more money to get feed and water for their livestock.

J The coordinating conjunction then creates an inappropriate chronological relationship between the ideas in the original two sentences.

5 A The adverb wisely correctly modifies the

verb using. The adjective wise would be incorrect in this context.

B Insure means “to get insurance,” which would be inappropriate in this context. An acceptable replacement would be ensure, “to make certain,” but the change would not make the sentence any clearer.

C Wildlife is a broad category that includes more than just mammals; for example, birds, insects, and lizards. Substituting wildlife with mammals would be incorrectly limiting.

D Correct. Desires are things that are strongly wished for or wanted, but not necessarily needed. The focus of the paper is on how essential water is for living things, so needs is a more appropriate word choice.

6 F Correct. The sentence introduces the

topic of the paper and makes readers want to learn more about it.

G This sentence provides the same information as the original sentence and is unnecessarily wordy.

H This sentence focuses on the writer and not the topic of the paper, which is still a mystery.

J This statement identifies the paper’s topic, but because it uses the Latin name, readers are still in the dark about what the topic actually is.

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Student booklets

Teacher’s Edition

STAAR ENGLISH I EOC

Practice Tests Forms A & BTwo full-length authentic practice tests that match the STAAR blueprint and released test items.

Practice Tests are sold in 10-packs: 10 Form A & 10 Form B student booklets with bubble sheets, and 1 Teacher’s Edition

Visit SiriusEducationSolutions.com for additional STAAR ...€¦ · ENGLISH I EOC READING ......

Documents

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