Copyright © 2010 Study Island - All rights reserved.

Generation Date: 04/15/2010

Generated By: Marjorie Nolan

Plot Development

I stared out at the falling rain and felt despair fill my heart. Why would it rain today of all days? I was two hours away from winning the title of Alameda County Dirt Bike champion, and now my first race would be called off. I stomped outside to the garage and threw myself down next to my beloved bike. Trixie, my bike, gleamed under the fluorescent lights of the garage. Just looking at my bike took me back to the first time I saw Trixie. The summer heat was enough to drive anyone crazy. I went to visit my brother at his auto repair shop to soak up the air conditioning. When I walked inside, I saw the most beautiful sight in the world—a shining red dirt bike with chrome accents. From the first moment I laid eyes on her, I knew that we would be champions together. "What...whose...?" I stuttered incoherently. My brother slapped me on the back cheerfully. "It's all yours, little bro," he told me. "All you have to do is work for me this summer. By the time you win your first race, you'll be the proud owner of this beauty. I'll even teach you how to ride." I worked for months to pay back my brother, and I devoted every spare moment to practicing on the dirt bike track. The sound of the rain on the roof of the garage got louder, and I groaned. "Maybe next time, Trixie," I whispered.

1. How do paragraphs 2, 3, and 4 influence the plot of the story?

A. They give the reader insight into the narrator's troubled family relationships.

B. They reveal the narrator's conflicted feelings concerning his athletic abilities.

C. They provide background about the narrator's previous dirt bike championships.

D. They help the reader understand the narrator's motivation to win the dirt bike race.

2. How does weather contribute to the plot of the story?

A. by causing the narrator to realize his dreams are futile

B. by forcing the narrator to work in hazardous conditions

C. by causing the narrator to lose ownership of his bike

D. by preventing the narrator from accomplishing his goal

"Are you ready to get started, Sydney?" Mr. Zaretsky asked as he handed her a stack of brightly colored fabric. Sydney gulped and nodded. It was her first day as a summer intern at Onegin Fashion Creations, and she was desperate to make a good impression. "Absolutely, Mr. Zaretsky," she said with a confidence she didn't truly feel. Her new supervisor had briefly explained the procedure for operating the industrial sewing machine, but she was still fuzzy on the details. The machine looked similar to the one she used at home, so she decided to just do her best and forego asking Mr. Zaretsky to explain the steps to her again. "Get busy, then," said Mr. Zaretsky with a smile. "I'll check on your progress in an hour." "Yes, sir," Sydney replied as her supervisor left the room. She slid the first piece of fabric beneath the sewing machine's presser foot and stepped on the foot pedal to start the motor. Suddenly, the machine gave out a fierce shriek, and thread began spinning wildly across Sydney's workstation. "What's going on?" cried Tatyana Rubenstein, head of marketing for OFC, as she raced out of

her office. "I have no idea," said Sydney as she looked at the smoking sewing machine in dismay. "I must have done something wrong." "Did I hear some kind of crash in here?" asked Rolfe Stamey, another intern, as he stuck his head through the doorway. Sydney felt like crying as the room began to fill with worried employees and interns. She expected them to call Mr. Zaretsky and tell him that the new girl had ruined an expensive piece of equipment. I can't lose this internship! she panicked silently. I'll never get a scholarship from OFC if I get fired on my first day. "Don't worry, Sydney," Rolfe comforted her as he unplugged the still-smoking machine. "We can fix this." "Yeah, this machine has been on the fritz for weeks," said another employee. "It shouldn't even be in the workroom to begin with." "We'll just move you over to this workstation," Tatyana told Sydney. "You can finish your project on a new machine. Just be sure to adjust the stitch length by pressing this button before you start the motor." "Thank you so much," Sydney called out to her rescuers. Rolfe gave her a friendly wink as he carried the ruined heap of metal out of the room. She quickly grabbed her pile of fabric and got back to work. "How are you doing?" asked Mr. Zaretsky as he returned to the workroom an hour later. "Everything is great," Sydney replied happily. She planned to bring a cake to the office to thank the people who had saved her from an embarrassing situation.

3. Which of the following contributes to Sydney's conflict in this situation?

A. She lies to her supervisor about breaking an expensive machine.

B. She has never operated a sewing machine before.

C. She acts rudely to the interns and employees at her new job.

D. She does not ask her supervisor to clarify his instructions.

4. Which statement best describes the main conflict in the story?

A. Sydney worries that she will not be well liked by the employees at OFC.

B. Sydney's fellow workers discover that she lied in order to get an internship.

C. Sydney's supervisor is determined to embarrass her in front of the other interns.

D. Sydney is afraid that a mistake made on the job will cost her a scholarship.

5. What happens when Sydney breaks the sewing machine?

A. The other employees and interns help her finish her project.

B. Rolfe and Tatyana buy a new machine to replace the old one.

C. Her supervisor realizes that she is an inexperienced seamstress.

D. Another intern named Rolfe wins the scholarship from OFC.

Unless one is wealthy, there is no use in being charming. Romance is the privilege of the rich. The poor should be practical and common. It is better to have a permanent income than to be fascinating. These are the great truths of modern life, which poor Hughie Erskine never realized.

To make matters worse, he was in love. He loved Laura Merton, the daughter of a retired colonel. Laura adored him. They were the handsomest couple in London, without a penny-piece between them. The Colonel was fond of Hughie, but would not hear of an engagement. "Come to me, my boy, when you have ten thousand pounds, and we will see," he used to say. Hughie looked glum on these days. One morning, he was on his way to the Mertons. He dropped by to see a friend, Alan Trevor. Trevor was a painter. When Hughie came in, Trevor was finishing a life-size picture of a beggar-man. The beggar was standing on a raised platform in a corner of the studio. He was a wizened old man with a wrinkled face and a piteous expression. With one hand, he leaned on a rough stick. With the other, he held out his battered hat for alms. After some time, the servant came in and told Trevor the frame-maker wanted to speak to him. Trevor went out for a bit, and the beggar-man rested on a wooden bench behind him. Hughie pitied him and checked his pockets for money. He slipped his largest coin into the beggar's hand. The old man started, and a smile flitted across his lips. "Thank you, sir," he said. When Trevor came back, Hughie left, blushing at what he did. Later, Trevor told Hughie about the beggar-man. "That old beggar is one of the richest men in Europe. He was Baron Hausberg, a great friend of mine. He buys all of my pictures. He is a millionaire!" Trevor said. "Baron Hausberg!" cried Hughie. "I am an unlucky devil. Please say nothing. I am so embarrassed." The next morning, Hughie was at breakfast when Baron Hausberg's servant came to the house. "Please offer the Baron my apologies," Hughie said. "The Baron," the servant said, "has asked me to bring you this letter." The outside said, "A wedding present to Hugh Erksine and Laura Merton, from an old beggar." Inside was a check for ten thousand pounds. When they were married, Trevor was the best man. Baron Hausberg came to the wedding. "Millionaire models," remarked Trevor, "are rare enough. Model millionaires are rarer still!" adapted from "The Model Millionaire" by Oscar Wilde

6. How are Hughie's troubles resolved?

A. Hughie impresses Laura's father by giving a beggar a large coin.

B. Hughie becomes successful by working as a painter's model.

C. Laura's father lets Hughie marry Laura despite his lack of money.

D. The baron gives Hughie money so that he can marry Laura.

7. Why can't Hughie and Laura marry at the beginning of the story?

A. Laura's father dislikes Hughie.

B. Hughie is already married.

C. Hughie does not have money.

D. Laura has no aristocratic title.

8. Why does Hughie feel embarrassed when Trevor tells him about the beggar?

A. Hughie had not treated the beggar with any respect.

B. Hughie did not know that Trevor had already paid the beggar.

C. Hughie did not know the beggar was really a rich baron.

D. Hughie had told the beggar to clean himself up and get a job.

9. Why does Hughie help the beggar?

A. He thinks that Trevor will notice.

B. He knows Trevor will not pay him.

C. He wants to impress Laura's father.

D. He feels sorry for the poor man.

10. How does Hughie win the favor of the baron?

A. He buys a beggar some new clothing.

B. He convinces Trevor to help the baron.

C. He lets a model take a break for lunch.

D. He gives a beggar a valuable coin.

The cat was supposed to be a present to butter us up about moving—that was one of those things I figured out later, like a missing puzzle piece you find in a dusty corner behind the door a long time after you've given up without finishing. "Don't you just love cats?" Mom asked one day, standing at the kitchen sink. She was doing dishes, looking out the window at the sky. I was reading a magazine, not about cats; Rona was coloring, not a picture of cats. I looked all around the room, I checked the yard through the window, but I couldn't figure out where that thought had come from. My new idea was that if I could figure out where an idea came from before it popped out of Mom's mouth like a magician's paper flower, I would be able to cut down on my stress. I personally didn't care about stress, but when Mom came home from parent-teacher conferences last time, she walked in the door and said, "Fifth-graders aren't supposed to have stress, Justine!" and burst into tears. There's a long list of things that make Mom cry, and I try to keep them from happening. I actually used to have a page in my notebook for writing them down, but I quit making it when it started to get too weird to read. Besides the normal things like the toilet being backed up or the electricity being turned off, there were things like losing the ticket stub from some hippie concert twenty years ago, where she met the guy she should have married but never saw again. There was also the time the color of the dryer lint made her remember a sweater she once had when she was an exchange student in Belgium, back when she thought she would become an archaeologist when she grew up. Now, she was only someone who worked in a deli and sometimes did catering and couldn't even say one sentence in Flemish anymore. adapted from Massachusetts, California, Timbuktu by Stephanie Rosenfeld

11. The main conflict in this story has to do with

A. Justine not wanting her family to move.

B. Justine's mother and her weird sayings.

C. Justine's relationship with her mother.

D. Justine hesitating about getting a cat.

12. The last paragraph in the passage helps to develop the story's plot by indicating

that

A. Justine wants her mom to quit the deli.

B. Justine's mother cries very easily.

C. Justine wants to become a writer.

D. Justine's mother doesn't love her kids.

The Handkerchief of Aramis

D'Artagnan decided to practice politeness because he got into one mess after another. Aramis was a perfect role model. He spotted Aramis with three gentlemen in front of the hotel d'Arguillon and approached with a bow and a smile. All four immediately broke off their conversation. D'Artagnan saw that Aramis had let his handkerchief fall and by mistake, no doubt, had placed his foot upon it. He stooped, drew the handkerchief from under the foot of the musketeer, and holding it out to him, said, "I believe that this is a handkerchief you would be sorry to lose?" The handkerchief was richly embroidered with a coronet and arms at one of its corners. Aramis blushed and snatched rather than took the handkerchief. "Ah!" cried one of the guards. "Will you persist in saying, Aramis, that you are not on good terms with Madame de Bois-Tracy, when that lady has the kindness to lend you one of her handkerchiefs?" Aramis darted at d'Artagnan one of those looks which informs a man that he has acquired a mortal enemy. "You are deceived, gentlemen," said he. "This handkerchief is not mine, and I cannot fancy why Monsieur has taken it into his head to offer it to me rather than to one of you. As proof of what I say, here is mine in my pocket." He pulled out his own handkerchief, likewise elegant but without embroidery and arms, only ornamented with its proprietor‟s symbol. The friends of Aramis were not convinced by his denial, and one of them addressed the musketeer with seriousness. "If it were as you pretend it is," said he, "I should be forced to recover it for Bois-Tracy is an intimate friend of mine, and I cannot allow the property of his wife to be sported as a trophy." "The fact is," offered d'Artagnan, timidly, "I did not see the handkerchief fall from the pocket of Monsieur Aramis. He had his foot upon it, and I thought the handkerchief was his." "You were deceived," replied Aramis, coldly. Then, turning toward the guards, he continued, "I have reflected that I am not less his friend than you can possibly be, so this handkerchief is as likely to have fallen from your pocket as mine." "No, upon my honor!" cried his Majesty's guardsman. "You are about to swear upon your honor and I upon my word, and then it will be pretty evident that one of us will have lied. Now, here, Montaran, we will do better than that—let each take a half of the handkerchief." "Perfectly just," cried the other two guardsmen, "the judgment of King Solomon! Aramis, you certainly are full of wisdom!" The young men burst into a laugh. In a moment or two the conversation ceased, and the three guardsmen left after having shaken hands. Aramis spoke to d'Artagnan, "I suppose you knew very well that people do not tread upon handkerchiefs without a reason! Why did you restore me the handkerchief?" "Why did you so awkwardly let it fall?" cried d‟Artagnan. "I have said that the handkerchief did not fall from my pocket." "And thereby you have lied twice for I saw it fall." "Ah, you take it with that tone, do you? Well, I will teach you how to behave yourself," threatened Aramis. "I wish to kill you, but quietly in a remote place, where you will not be able to boast of your death to anybody. At two o'clock I shall have the honor of expecting you at the hotel of Monsieur de

Treville. There I will indicate to you the best place and time." adapted from The Three Musketeers by Alexander Dumas, père

13. What is the main event in the passage above?

A. D'Artagnan meets some guards in front of a hotel.

B. D'Artagnan tries to return a handkerchief to Aramis.

C. Aramis shows off his handkerchief to his friends.

D. Aramis offers to cut the handkerchief into halves.

14. What is the most likely reason d'Artagnan lies to the guards about not seeing

Aramis drop the handkerchief?

A. He wants to see Aramis get into a fight with the guards.

B. He wants to protect Madame de Bois-Tracy from gossip.

C. He wants to obtain a nice room at the hotel d'Arguillon.

D. He wants to help avoid a confrontation with the guards.

15. Why does d'Artagnan pick up the handkerchief?

A. He believes he is being polite by returning it to Aramis.

B. He believes Aramis is making a personal insult to him.

C. He wants to return it to Madame de Bois-Tracy.

D. He wants to get Aramis in trouble with the guards.

16. Why does Aramis react the way he does to d'Artagnan?

A. He is impressed by d'Artagnan's good manners.

B. He thinks d'Artagnan has stolen the handkerchief.

C. He is offended by d'Artagnan's tone and actions.

D. He thinks d'Artagnan is working with the guards.

17. What happens when Aramis proposes that he and Montaran each take half of the

handkerchief?

A. The guards decide to fight both Aramis and d'Artagnan.

B. Madame de Bois-Tracy asks for her handkerchief back.

C. D'Artagnan admits that he was lying and apologizes.

D. The guards laugh and declare the matter settled.

18. What is the most likely reason Aramis drops the handkerchief and places his foot

on it?

A. He does not want his foot to get dirty.

B. He wants to pick a fight with d'Artagnan.

C. He wants to hide it from the guards.

D. He drops it completely by accident.

19. The fourth paragraph is important to this story because it

A. explains why d'Artagnan and Aramis decide to duel.

B. tells the differences between the handkerchiefs.

C. shows that the guards recognize the handkerchief.

D. describes why d'Artagnan is at the hotel d'Arguillon.

The River Never Sleeps

by Martha Agoonguk

Grandfather had warned Xavier not to go out on the Yukon. But about a hundred yards from the shore, kneeling by a small hole cut in the ice, were Xavier and his cousin John. Xavier searched through his red backpack for his tackle box. His cousin had already dropped his fishing line into the water. "You should have been there, John. It was scary. Grandfather looked right at me and said, 'Beware! The river never sleeps!' " "How would you know? You don't talk Inuit!" John was right. Even though Xavier had learned some Inuit words, he needed his mother to translate most of his grandfather's speech. "He said we shouldn't go out on the ice because this year has been just like the year great-uncle Ignatius drowned during an early breakup." "That was fifty years ago!" John jigged his line roughly. Xavier shivered. He knew that during a breakup, the river cracked with noises like gunshots. Sheets of ice broke loose and tumbled downstream. Xavier turned his backpack upside down, spilling everything out on the ice. "What's all that junk?" asked John. "It's not junk! It's what the men in the old days used to carry with them on hunts." When Grandfather had moved in with them, he had brought an old sealskin bag. Inside it were hand-carved tusk harpoon tips, jigging lures, and coils of spotted-seal thongs and straps. His grandfather had allowed him to put the gear in his backpack along with a fishing tackle and a scout knife. Xavier finally found his hooks and weights. Suddenly, John shouted, "Hey, a bite! I've got one!" As Xavier ran to help him, he heard a loud crack, like a rifle shot. "What was that?" he asked, but John was too busy to answer. Crack! Xavier heard the noise again. Upstream, where the river curved into view, was a channel of open water. In it bobbed an iceberg as big as a gray whale! Almost in slow motion, it collided with the ice on the river. When it hit, there

was a loud chime. A new streaming layer of ice broke free and began surging downstream . . . toward them! "Breakup, John! Let's get out of here!" "But my fish! It's a fat one!" "Leave it! Cut it loose!" Xavier shouted as he packed up the backpack. The boys turned toward shore, rushing to get off the river. John tripped on a patch of rough ice. As he stood, he yelped in pain. "I think I twisted something!" Xavier struggled to support John, who was a head taller than he was. He dumped the bag on the ice to get a better hold on John. They moved more easily then, but the hundred yards to shore was like miles. Xavier knew that the ice nearest the open water would go first, but in the past he'd seen whole sections of "safe" shore ice unexpectedly buckle and shoot straight up in the air. The ice under their feet could do the same thing! They slid and stumbled. The last few yards they crawled. Finally, they collapsed on the solid shore. John suddenly tried to get to his feet. "What about Grandfather's gear? It can't be replaced! We should try to get it back." "No! It's too dangerous." Xavier looked out across the ice at the red backpack. "He'll understand." At least I'm alive to tell him I learned my lesson—the river never sleeps, Xavier thought. Copyright (c) 1998 by Highlights for Children, Inc., Columbus, Ohio.

20. What happens just as the breakup starts to crack the surface of the river?

A. Xavier looks in his backpack.

B. Xavier sees a large whale.

C. John catches a huge fish.

D. John trips on some ice.

21. How is the main conflict resolved?

A. Xavier has to go into the icy water and rescue John when John falls into the river.

B. Xavier quickly recognizes the sounds of danger, and he and John rush off of the ice.

C. John grabs the red backpack with his grandfather's things before it sinks into the

river.

D. John catches a huge fish, so his family will have food to eat during the cold winter.

22. What is the main conflict in the story?

A. The frozen river starts to crack, and John and Xavier must make it safely to shore.

B. John breaks his ankle on the ice, and Xavier must help him get to the hospital.

C. Xavier falls into the frozen river, and John must find a way to get him out safely.

D. Because he is unable to speak Inuit, Xavier needs his mom to talk to his grandpa.

The Robot by A. Gautam

Sai ran into Ali in the middle of the science fair. She had not seen him holding hands with Jade and walking toward her. He looked more than happy; Sai thought Ali looked content. For a brief moment, Sai's expectant eyes met Ali's and the booths along with people all around Sai disappeared. There was the same smile in Ali's face—the smile that had captivated Sai. Now, Ali was only standing a few feet away from Sai, still holding Jade's hands. "Hey, there," Ali greeted Sai with a warm handshake. "Do you have a display this year?" "Hi, Ali. Hey, Jade," Sai addressed the couple with a forced smile. "Not this year. I am only judging." Before she knew it, Sai was already thinking about the first science experiment she did for the NewEinsTess Club. The robot had received more press and media attention than a pop singer found in a McDonald's. Sai knew the robot was a proof of her strong friendship with and feelings for Ali. She also knew that they would have ended up together if she had not left for the Robot Meet in Tokyo. Sai imagined holding hands with Ali and walking around the booths. "Of course," Ali uttered, bringing Sai back to reality. "You are way too smart for this school." Not for you, Sai thought to herself. "It was great to see you guys," Sai managed to say, and watched Ali disappear among the busy people in the science fair.

23. The author uses flashback to reveal

A. the fact that Ali is a smart boy.

B. the friendship of Ali and Jade.

C. the feelings that Sai has for Ali.

D. the idea of a global competition.

24. Which of these is an example of flashback in the passage?

A. Ali commenting on the fact that Sai is very smart.

B. Sai thinking about her first science experiment.

C. Jade not speaking a single dialogue in the passage.

D. Ali disappearing among the people in the science fair.

Evil Robot Theory

by J. Robbins

"Let's try it one more time, guys," Lautrec Sugarbaker called out. His fledgling band, Evil Robot Theory, was scheduled to play in the high school talent show in two days, and they were struggling to get ready. Lautrec's best friends and band mates reluctantly left the cool outside air and returned to the stifling garage. He handed each of them a piece of paper with lyrics scribbled on them. "This looks pretty good," admitted Urbana, the bass player. She wiped the sweat out of her eyes and began playing the chorus of Lautrec's new song, "Pleasant Valley Tuesday." "I like it, big L," Indio agreed as his fingers raced along the keyboard. Skyler, who never spoke if she didn't have to, tapped an approving rhythm on her drums. The band began to play, and Lautrec started to sing the lyrics he had just written. Suddenly, the garage was flooded with a pulsing blue and red light. "Evening, kids," said a bored police officer as he approached the band members. Lautrec groaned aloud. "Is there a problem, sir?" he asked, despite already knowing the answer. "We've had several noise complaints from the neighbors," replied the officer. "You are going to have to shut it down."

"You can't do this to us!" cried Indio in despair. "If we can't practice our song, we'll be the laughingstock of the talent show." Across the garage, Skyler banged her drumsticks on her cymbals in frustration. "I understand, but the law is the law," the officer told them and quickly left the unbearable heat of the garage. "I know who is behind this," seethed Lautrec. "It's Mrs. Gretsky from next door. She hates my family because we won't cut down that huge oak tree in our backyard." "That's ridiculous," Urbana said. "Why don't you go over and apologize to her so we can finish our practice?" "I can't," replied Lautrec. "She never answers her door. We'd have better luck cutting down the oak tree by ourselves." "I guess that's the end of Evil Robot Theory," Indio groused. "The greatest garage band that never was." "Maybe we can do a ventriloquist act at the talent show instead," joked Urbana as she packed her bass carefully in its case. "Or a four-person production of The Sound of Music," Lautrec suggested with a bitter smile. "Why don't we move our practice to my house?" a soft voice interjected. Skyler stood shyly behind her drums and smiled at her band mates. "My parents won't mind if we use the basement, and we don't have any neighbors who hate us." "Um, that's a great idea, Skyler," stammered Lautrec, trying to hide his shock. He'd been friends with the drummer for four years and had never heard her speak more than one or two words at a time. "Right on, girl!" Urbana yelled and gave Skyler a high-five. The four of them quickly packed their equipment and closed up the garage. Lautrec glanced over at Mrs. Gretsky's house and saw her sour face peeping through the front window. He sighed and made a mental note to talk to his dad about calling a tree removal company. This neighborly feud had gone far enough.

25. What conflict does Lautrec have in the story?

A. He and Urbana can't agree on which talent show act to perform.

B. He feels threatened by Skyler's popularity within the band.

C. His band's future is threatened by the actions of a neighbor.

D. His legal troubles prevent him from starting a garage band.

26. Which of the following is the main cause of the conflict between Lautrec and Mrs.

Gretsky?

A. He often spies on her through the front window of her house.

B. His family refuses to remove a tree from their property.

C. His band plays their music loudly every night to annoy her.

D. He calls the police when she tries to cut down a tree.

27. The main conflict in the story is resolved when

A. Lautrec says he will write a four-person play for the talent show.

B. Urbana suggests they switch to a new talent for the show.

C. Skyler offers an alternative place for the band to practice.

D. Lautrec and his friends cut down a tree to please Mrs. Gretsky.

The Test by J. Robbins

Peter Fox walked into Mr. Amend's American history class whistling a cheerful tune. Several students looked up from their books and gave him dirty looks. He smiled as he slid into his seat. "What's up, Steve?" he asked his best friend. Steve had dark circles under his eyes, and he looked exhausted. "Hey, man," Steve replied. "I've been up all night studying the Declaration of Independence, and I think my brain might explode." Peter laughed as he leaned over and patted his friend on his back. "Don't worry, Steve," said Peter. "I'll ace this thing for both of us. In fact, I'll ace it for the whole class!" Steve looked at Peter suspiciously. "Why are you so confident?" he asked. "You're not planning to cheat, are you?" "No way!" Peter reassured him. "I just stayed up all night memorizing the book Mr. Amend assigned us. I need to score a perfect grade to make up for last month's test." "Yeah, that was awful," Steve agreed. "I can't believe Mr. Amend wouldn't let you take the test again. Studying the wrong chapter was an honest mistake." Peter nodded sadly. "Yeah, my dad was furious," he said. "But Mr. Amend never budges when it comes to taking tests only once. From then on, I swore to never study the wrong material again. So, how did you like the book? I thought the part with the werewolves was a little over the top." Steve gave his friend a blank look. "What werewolves?" Steve asked. "You know, the werewolves who were hiding in the cargo bay at the beginning of the book and eventually took over the spaceship," replied Peter. "Peter," Steve said slowly. "I don't know what you read, but it wasn't the book Mr. Amend assigned us. The book we were supposed to read was about the signing of the Declaration of Independence. There were definitely no werewolves involved!" The smile vanished from Peter's face and was replaced by a look of panic. "No! I must have accidentally picked up the wrong book. This can't have happened again!" exclaimed Peter as he buried his head in his hands.

28. Which of the following is a major conflict for Peter in this story?

A. Despite studying all night, he is unprepared for his history test.

B. His overactive imagination has caused him to fail his classes.

C. His father refuses to accept that he has a learning disability.

D. Although he tries to make friends, his classmates dislike him.

29. How does Mr. Amend contribute to Peter's conflict in the story?

A. He provides the wrong book for Peter to study.

B. He refuses to make peace with Peter's father.

C. He refuses to allow students to retake tests.

D. He influences other students to dislike Peter.

30. The author most likely uses foreshadowing in this story to

A. explore the friendship of the two boys.

B. help the reader learn good study skills.

C. reveal Peter's mistake to the reader.

D. create sympathy for Steve's situation.

31. Which sentence from the story is the best example of foreshadowing?

A. "Steve had dark circles under his eyes, and he looked exhausted."

B. "Peter laughed as he leaned over and patted his friend on his back."

C. "I thought the part with the werewolves was a little over the top."

D. " 'I've been up all night studying, and I think my brain might explode.' "

As he went down the narrow staircase, covered with its dingy and threadbare carpet, he found the house so full of dirty yellow haze that he realized that the fog must be of the extraordinary ones, which are remembered in after-years as abnormal specimens of their kind. He recalled that there had been one of the sort three years before, that traffic and business had been almost entirely stopped by it, that accidents had happened in the streets, and that people having lost their way had wandered about turning corners until they found themselves far from their intended destinations and obliged to take refuge in hotels or the houses of hospitable strangers. Curious incidents had occurred, and odd stories were told by those who had felt themselves obliged by circumstances to go out into the baffling gloom. He guessed that something of a like nature had fallen upon the town again. The gas light on the landings and in the melancholy hall burned feebly—so feebly that one got but a vague view of the rickety hat stand and the shabby overcoats and headgear hanging upon it. It was well for him that he had but a corner or so to turn before he reached the shop. When he opened the street door he saw that the fog was, upon the whole, perhaps even heavier and more obscuring, if possible, than the one so well remembered. He could not see anything three feet before him; he could not see with distinctness anything two feet ahead. The sensation of stepping forward was uncertain and mysterious enough to be almost appalling. A man not sufficiently cautious might have fallen into any open hole in his path. He kept as closely as possible to the sides of the houses. It would have been easy to walk off the pavement into the middle of the street but for the edges of the curb and the step downward from its level. Traffic had almost absolutely ceased. The blind feeling of the thing was rather awful. Though but few pedestrians were out, he found himself once or twice brushing against or coming into forcible contact with men feeling their way about like himself. "One turn to the right," he repeated mentally, "two to the left, and the place is at the corner of the other side of the street." He managed to reach it at last, but it had been a slow and long journey. All the gas jets the little shop owned were lighted, but even under their flare the articles in the window hung in the haze like the dreary, dangling ghosts of things recently executed. adapted from The Dawn of a To-morrow by Frances Hodgson Burnett

32. Why is the man worried about falling into the street?

A. Other people would not help him get up.

B. He has fallen into the street many times.

C. Any traffic would not be able to see him.

D. He always gets embarrassed when he falls.

33. What is the conflict in the story excerpt above?

A. A man struggles to make his way through foggy streets.

B. A man cannot find a shop because of heavy rains.

C. A man gets in fights with pedestrians on the streets.

D. A man decides to stay inside because of bad weather.

34. Why is the man's house filled with yellow haze?

A. He hasn't cleaned his house in years.

B. The thick fog has entered his house.

C. The lights give off a strange glow.

D. He is starting to lose his eyesight.

35. How does the man help resolve the conflict?

A. He gives up his journey and goes back home because the fog is thick.

B. He mentally repeats the turns he needs to make to reach the shop.

C. He decides to take shelter in a hotel or a house of a hospitable stranger.

D. He asks some fellow pedestrians if they can help him find his way.

Rossamünd was a boy with a girl's name. All the other children of Madam Opera's Estimable Marine Society for Foundling Boys and Girls teased and tormented him almost daily because of his name. And this day Rossamünd would have to fight his worst tormentor, Gosling—a boy who had caused him more misery than any other, a boy he worked hard to avoid. Unfortunately, when it was time to practice harundo, there was no escaping him. At Rossamünd's feet was the edge of a wide chalk circle, drawn upon floorboards so thoroughly cleaned that the grain protruded as polished ridges. Opposite of him stood his enemy. Regretting the ill fortune that had paired him with his old foe, Rossamünd frowned across the circle; sour-faced and lank-haired, Gosling stared back scornfully. The blankness behind Gosling's eyes terrified Rossamünd; his opponent was a heartless shell. He delighted in causing pain, and Rossamünd knew that he would have to fight better today than he ever had before if he was to avoid a beating. "I'm going to thrash you good, Rosy Posy," Gosling hissed. "Enough of that, young master Gosling!" barked the portly cudgel-master, Instructor Barthomæus. "You know the Hundred Rules, boy. Silence before a fight!" Both Rossamünd and Gosling wore padded sacks of dirty white cotton, tied with black ribbons over their day-clothes. Each boy held a stock—a straight stick about two and a half feet long. Harundo was a form of stick-fighting, and these were their weapons. Rossamünd was never able to get a comfortable hold on a stock. With the fight about to

start, he shifted his awkward grip again. He tried to remember all the names, moves, and positions he had ever been taught. The Hundred Rules of Harundo made perfect sense, but no matter how often he had trained or fought in practice, he could never make his body obey them. In Madam Opera's Estimable Marine Society for Foundling Boys and Girls, the only room large enough for harundo was the dining hall. Trestles and benches had been dragged clear and left higgledy-piggledy against the walls. The cudgel-master raised his whistle, and the two dozen other children standing around the circle fell silent. Rossamünd noticed some of them grinning knowingly. Others stared—slack-jawed and wondering—while the littlest shuddered with fear. Gosling twirled his stock with a swagger. Rossamünd looked to the over-cleaned floorboards and waited. The whistle shrilled. Gosling strutted into the ring. "Time to get your beating, Missy," he gloated. "You've managed to dodge me all week, so you'll suffer extra today." "That is enough, Gosling!" bellowed Barthomæus. Rossamünd barely heard either of them. The Hundred Rules were racing madly about his mind as he stepped into the chalk circle. If he could just get them straight in his head, surely his limbs would follow! With a venomous snarl, Gosling rushed him. from Monster Blood Tattoo : Foundling by D M. Cornish

36. The author describes Rossamünd as not very confident with the fighting stick.

The author does this in order to

A. suggest that Rossamünd will flee the fight.

B. build suspense as the fight gets closer.

C. provide detail about his friendship with Gosling.

D. make the reader lose respect for Rossamünd.

37. The major conflict in this story is between

A. Rossamünd and Gosling.

B. Barthomaeus and Rossamünd.

C. Rossamünd and nature.

D. Gosling and Barthomaeus.

You're Aces

by J. Robbins

"Oh, good, you're all here," said Pola as she walked into the community theater. She began handing out copies of her script to the assembled actors. "This is a lot to memorize," remarked Gerhardt, flipping through the pages. "Neville, your character's name is Rhombus Fairchild. Boy, I bet he was picked on as a kid." "You're Aces—what kind of title is that?" Neville asked.

"The play takes place in the 1920s, Neville," replied Pola irritably. "People used catchphrases like that back then. It means 'You're the best.' " "If the play takes place in the past, why are the main characters fighting giant evil robots in the third act?" asked Nadezhda. Gerhardt and Neville gasped in surprise and started reading the script with renewed interest. "Cool! I get to fire a laser gun," bragged Neville. "Oh, man!" Gerhardt groaned. "My character gets killed at the end of Act III. Death scenes are the worst." "Quit complaining, everyone," exclaimed Pola. "I had to write this by myself in two days while working a full-time job. It may not be Shakespeare, but it's good enough for community theater. I think we should just do the best we can with what we've got." "That's a terrible attitude," Nadezhda said. "The proceeds from this play will be donated to charity, and I think we should try our hardest to give people their money's worth. Why don't we all work together to write a new script?" "Fine!" Pola yelled. "I'll let you guys take over the play, and I'll save my efforts for people with better taste in entertainment." The three actors watched in amazement as Pola stomped out of the theater. "Whoops," said Nadezhda with an embarrassed smile. "I forgot that she hates for anyone to question her talent as a writer." "I'm just sad I won't get to wear a jet pack and use phrases like 'You're the bees' knees,' " Neville laughed. "I thought doing a death scene was bad," said Gerhardt. "If we don't get a script put together by tonight, we'll all be in serious trouble." Nadezhda grabbed a notebook from her purse. "This will be a snap," she said confidently. "What's a good topic for a play?" "I know!" declared Gerhardt. "Neville and I will be lawmen sent from the future who try to stop a giant monster from destroying Dubuque, Iowa." "Well, it is original," Nadezhda replied slowly. "But how would we create a giant monster on our $10 prop budget?" "Good point," admitted Gerhardt. "Here's an idea," said Neville. "What if Gerhardt and I play Elvis and Abraham Lincoln, who have been brought back to life by scientists. We use our skills to defend the president, played by Nadezhda, from the cast of the musical Cats, who have been turned into vicious zombies." Neville's voice trailed off as he realized that both Nadezhda and Gerhardt were staring at him with their mouths open. "That's very ambitious," Nadezhda finally said. "I think it would be a little difficult for three people to perform onstage, though." "You're probably right," said Neville. "I hate to say it, but our ideas are terrible," Gerhardt remarked. "What are we going to do?" The three actors dashed off the stage and hurried outside. "She's over by her car!" exclaimed Nadezhda. "Let's go get her. I'm not too proud to beg; are you guys?" "No way," replied Gerhardt. "As far as I'm concerned, death scenes are the bees' knees."

38. Which of the following contributes to the conflict in the passage?

A. Nadezhda's jealousy over Pola's talent

B. Pola's sensitivity about her writing skills

C. Neville's ambition to become the lead actor

D. Gerhardt's lack of talent as an actor

39. The conflict in this passage is resolved when

A. the three actors hire another script writer.

B. the three actors choose to quit the play.

C. the three actors write a play based on Neville's idea.

D. the three actors decide to perform Pola's play.

40. What causes Pola to feel upset in the passage?

A. She is jealous of Nadezhda's talent as a writer.

B. She doesn't get to participate in the play as an actress.

C. She believes that her hard work is unappreciated.

D. She is unable to think of a new topic for the play.

41. Which of the following best explains the primary conflict in the passage?

A. Three actors collaborate with a script writer to produce a play that will earn enough

money to support a charity.

B. Three actors struggle to pursue their childhood dream of becoming script writers for a

community theater.

C. After offending the script writer, three actors struggle to produce a new script in time

for their first performance.

D. After treating a script writer with disrespect, three actors find out that they have

been fired from the community theater.

The Book

by J. Robbins

Marco was halfway home when it began to storm. He could barely see through the curtain of rain, and he decided to take shelter until the storm passed. A tiny shop door caught his attention, and he slipped inside. "Hello?" Marco called. The interior of the store was dark and gloomy, and the walls and floors were covered with dusty books and old newspapers. He wandered over to a table and picked a book at random. The leather cover of the book was obscured by a thick layer of dust, and he could not read the title. Marco sat down on the floor and opened the book. "The boy was walking home from school when it began to rain," Marco read, his voice echoing loudly. "The powerful storm forced him to seek refuge inside a deserted bookstore." That's weird, he thought. "He picked up a book and began to read. Little did he know that he was about to face his worst nightmare," read Marco. He looked around warily, wondering if someone was playing a joke on him. "In a matter of minutes, his worst enemy, a boy named Julius, would enter the store and confront him. Would the boy be able to face his fears and outsmart his enemy? Or would he heed the book's warning and run out into the rain? As soon as he finished the page, he would be forced to make a decision that would affect the rest of his life," Marco read, his voice trembling. Surely the book couldn't be talking about him? Suddenly, the door of the bookstore opened behind him. Marco slowly turned around, and the knot of fear in his stomach told him exactly who was about to walk inside.

42. The author most likely uses foreshadowing to

A. help the reader anticipate the next event in the story.

B. show that Marco is actually the owner of the bookstore.

C. provide details about the joke being played on Marco.

D. confuse the reader about the story's sequence of events.

43. Which sentence from the passage is an example of foreshadowing?

A. "He could barely see through the curtain of rain, and he decided to take shelter until

the storm passed."

B. "The leather cover of the book was obscured by a thick layer of dust, and he could

not read the title."

C. "In a matter of minutes, his worst enemy, a boy named Julius, would enter the store

and confront him."

D. " 'The boy was walking home from school when it began to rain,' Marco read, his

voice echoing loudly."

The Race

by J. Robbins

"Runners, get ready!" called the track coach. Serena Rosales checked the laces on her tennis shoes one last time and walked over to her lane. She could hear the crowd murmuring in anticipation. Her friends and family were waving excitedly to her from their seats on the bleachers, but Serena calmly ignored everything but the track in front of her. Alice, the runner beside her, shifted from foot to foot and cleared her throat. "I am so nervous!" Alice said to Serena. "How can you stay so calm?" Serena smiled to herself. She knew exactly when and where she had learned to be at peace even during the biggest race of the school year. The track in front of her disappeared, and in her mind's eye she could see a dirt road filled with ruts and holes. "I want you to run from here to that old oak tree as fast as you can," Grandma Rosales told her eight-year-old granddaughter. Serena looked up at her grandmother in bewilderment. "But why, Grandma? I can walk just as easily," Serena whined. Her grandmother shook her head fiercely. "No, ma'am!" said Grandma. "You have a gift for running, and I'm going to make sure you use it. Do you think gifts like yours just drop off trees? As long as I live, you will never walk when you can run, and every time you race, you just picture me running right along with you. Do you hear me?" Serena raced to the tree and back to her grandmother before she fell to the ground in exhaustion. "On your mark!" yelled the track coach, interrupting Serena's thoughts. She closed her eyes and pictured her grandmother's loving face. There was no question in her mind that she would win this race.

44. In the story, how does Serena handle the stress of participating in a big race?

A. by deliberately sabotaging other runners

B. by focusing on a beloved family member

C. by wearing a pair of lucky tennis shoes

D. by following her track coach's advice

Have you ever experienced that stage in life where nothing seems to go right? That‟s where I am right now, and I can assure you that it definitely stinks. I think I might go crazy in this world of mine because— “ALEXANDRA!” Well, that‟s one of them. That‟s my mom screaming her lungs off for me to come and obey her orders. I swear I must hear my name hollered at least 10 times a day. I‟m thinking about changing my name. Maybe then hearing my name won‟t bother me so much. I better go see what my dear mother wants. “Alexandra, look at this report card! You made a C!” I look at it, and yes, I definitely see a 76 popping out at me. “Yes mom, I made a C! My English teacher this year is tough.” “I don‟t care!” she yells. “You made an A on the last report card. You are a very smart girl, and I know you can do better than this! Look at your friend Lila! Her mother told me that she made straight A‟s!”

45. The author's use of foreshadowing allows the reader to conclude that

A. something isn't going to happen the way the narrator wants it to.

B. the narrator's friend Lila is more intelligent than the narrator.

C. someone is going to change the narrator's pessimistic view of life.

D. the narrator will make an A in English on her next report card.

CHARACTERS: WILLY LOMAN LINDA, his wife BIFF, the oldest son HAPPY, the youngest son SCENE: The action takes place in Willy Loman‟s house and yard and in various places he visits in the New York and Boston of today.

(Biff gets up and moves restlessly about the room.)

BIFF: Why does Dad mock me all the time?

HAPPY: He‟s not mocking you, he—

BIFF: Everything I say there‟s a twist of mockery on his face. I can‟t get near him.

HAPPY: He just wants you to make good, that‟s all. I wanted to talk to you about Dad for a long time, Biff. Something‟s—happening to him. He—talks to himself.

BIFF: I noticed that this morning. But he always mumbled.

HAPPY: But not so noticeable. It got so embarrassing I sent him to Florida. And you know something? Most of the time he‟s talking to you.

BIFF: What‟s he say about me?

HAPPY: I can‟t make it out.

BIFF: What‟s he say about me?

HAPPY: I think the fact that you‟re not settled, that you‟re still kind of up in the air . . .

BIFF: There‟s one or two other things depressing him, Happy.

HAPPY: What do you mean?

BIFF: Never mind. Just don‟t lay it all to me.

HAPPY: But I think if you just got started—I mean—is there any future for you out there?

BIFF: I tell ya, Hap, I don‟t know what the future is. I don‟t know—what I‟m supposed to want.

adapted from Death of a Salesman by Arthur Miller

46. In this passage, which of the following contributes to the conflict between Biff

and his father?

A. Biff's disappointment in his father's career

B. Biff's lack of definite plans for the future

C. Biff's younger brother's hatred for his father

D. Biff's desire to move his family to Florida

Bitterness of Women

by Mary Austin

Louis Chabot was sitting under the fig tree in his father's garden at Tres Pinos when he told Marguerita Dupré that he could not love her. This sort of thing happened so often to Louis that he did it very well and rather enjoyed it. He was one of those before whom women bloomed instinctively and preened themselves, and that Marguerita loved him very much was known not only to Louis, but to all Tres Pinos. It was bright mid-afternoon, and there was no sound in Dupré's garden louder than the dropping of ripe figs and the drip of the hydrant under the Castilian roses. A mile out of town Chabot's flock dozed on their feet with their heads under one another's bellies, and his herders dozed on the ground with their heads under the plaited tops of the sage. Old Dupré sat out in front of his own front yard, with a handkerchief over his face, and slept very soundly. Chabot sat back in his chair and explained to Marguerita point by point why he did not love her. Marguerita leaned her fat arms on the table, wrapped in her blue reboza; she leaned forward, looking steadily and quietly at Louis, because she was afraid if she so much as let her lids droop the tears would come and if she smiled her lips would quiver. Marguerita felt that she had not invited this, neither had she known how to avoid it. adapted from Stories from the Country of Lost Borders by Mary Austin

47. Which of the following is developed in this passage?

A. the turning point in Louis' relationships with women

B. the history behind Marguerita's love affair with Louis

C. the resolution to Louis and Marguerita's conflict

D. the complication between Marguerita and Louis

48. Which of the following is a major conflict for Marguerita?

A. She wants to break up with Louis.

B. Her boyfriend is loved by many women.

C. Her boyfriend does not love her.

D. She did not invite Louis to the garden.

Laughter by J. Robbins

"All right, class," said Mr. Collins as he finished writing "Comedy 101" on the blackboard. The chatter around the room slowly died down. "Let's start our first meeting by going around the room and introducing ourselves. Let's start with . . . Jarod Blinkman." The room was silent as everyone turned to look at Jarod. He felt his face turn bright red, and he swallowed hard as he stood up to face his fellow students. It was hard enough to meet a group of strangers for the first time, but the fact that he was the smallest person in the room made it even worse. "Well, uh," Jarod stammered. He wished for an earthquake or an alien abduction—anything that would rescue him from his embarrassment. Mr. Collins smiled kindly at him. "Why don't you just start by telling us your name and why you're interested in comedy," Mr. Collins said. "Hi, my name is Jarod," he said. "You all might have noticed that there is something unique about me." His classmates laughed nervously. Their laughter gave him the courage he needed to keep going. "I have a condition called achondroplasia dwarfism," Jarod continued. "Don't worry, it's not contagious. It just means that I'll never get taller than I am right now, which is 4 feet 5 inches. I have friends with dwarfism, and my parents have always tried to give me the same opportunities as other kids my age. I wanted to take this class because I love to make people laugh. Sometimes, I think if I could just get people to laugh, then they wouldn't feel so weird around me just because I'm different." Jarod felt his nervousness return as he sat down. I hope I said the right thing, he thought. Suddenly, he felt a hand clap him on the back. The boy sitting in the chair next to him was grinning at him and patting him on the back happily. All around the room, the other students smiled warmly at Jarod. "Dude, you just said what I've always thought about laughter," said one of his classmates. "Yeah, Jarod," agreed another student. "If I get people laughing, I feel like I'm one step closer to making them my friends." Jarod felt a huge grin spread across his face. Mr. Collins walked across the room to shake his hand. "Thank you, Jarod," his teacher said. "That was a wonderful introduction to this class. They say that laughter is the best medicine, but I think you'll find that it is also the best way to break down barriers between people." Jarod felt his face turn red again, but this time it was due to pride. He couldn't wait to meet the rest of his classmates.

49. Jarod's problem is resolved when

A. he expresses his feelings to his class.

B. Mr. Collins asks him to teach the class.

C. he discovers a cure for his disease.

D. Mr. Collins lets him leave class early.

50. The central conflict in this story is between

A. Jarod and his friends.

B. Jarod and himself.

C. Jarod and his teacher.

D. Jarod and his classmates.

51. Why does Jarod join Mr. Collins' class?

A. He wants to prove that he is no longer handicapped.

B. He wants to use laughter to help him make friends.

C. He wants to laugh at other peoples' physical problems.

D. He wants to make other people feel sorry for him.

Cherie searched through her backpack in a panic. Please say I didn't lose my passport already! she begged silently. Her backpack was littered with packs of gum, sunscreen, comic books, and all the little things she expected to need on her trip. Except her passport. The line in front of her moved forward, and her stomach did a flip-flop of fear. She had always dreamed about traveling to another country, and she didn't want to lose her chance because of her chronic forgetfulness. "Hey, girl," said Marissa, her team leader. "Is everything okay?" Cherie fought back tears as she looked up at her team leader. "I can't find my passport," Cherie admitted. Marissa frowned thoughtfully. "Well, let's see," said Marissa. "I know you had it when we loaded up the van. Did you stick it in your suitcase?" Cherie put down her backpack and unzipped her suitcase. Her neatly-folded clothes tumbled to the ground as she searched. In the meantime, Marissa looked inside the backpack. "What's the problem, Marissa?" asked Mr. Turner, the trip coordinator. As he walked up, Cherie groaned. The last thing she wanted to do was make a bad impression on Mr. Turner. He had made the final decision to allow her on the trip, despite the fact that she was the only teenager in the group. She wanted to repay his faith in her more than anything. "Oh, there's no problem, Mr. Turner," Marissa told him. Cherie looked at her in surprise. "Cherie's passport just got wedged inside one of her comic books. I have it right here. Everything's great!" Mr. Turner looked relieved and went back to his seat in the airport lobby. Cherie sighed in relief when Marissa put the passport in her hands. "Thank you, Marissa," she told her gratefully. "I thought I was a goner." Marissa grinned at Cherie. "No problem!" said Marissa. "You should have seen me on my first overseas trip. I left my passport at home, and my mom had to bring it to me. I was so embarrassed." They shared a moment of relieved laughter before the security officer motioned Cherie forward.

52. The main conflict in this story is resolved when

A. Mr. Turner bribes the security officer.

B. Marissa finds Cherie's lost passport.

C. Marissa lies to the trip coordinator.

D. Cherie's mom brings her lost passport.

53. How does the last paragraph contribute to the plot of the story?

A. The reader discovers that Marissa tried to hide Cherie's passport in a book.

B. The reader finds out that Marissa experienced a similar problem to Cherie's.

C. The reader learns that Mr. Turner has turned Cherie in to the security office.

D. The reader discovers that Cherie's situation will cause her to miss her plane.

54. Why does Cherie try to keep her situation a secret from Mr. Turner?

A. She thinks he wants to cancel the trip.

B. She does not want to disappoint him.

C. She knows he dislikes her team leader.

D. She knows he has hidden her passport.

Inside, the place was almost dark. It was a shabby pawnshop, and behind the counter lounged a shabby man with an unshaven face. After making payment, he noted that he still possessed some coins. The most decent thing would be to give them away. He thought of this as he left the shop and began to cross the street. His mind was wandering, and he was less watchful. Suddenly, a carriage appeared immediately in his path. The horse's head loomed above his own. He whirled aside involuntarily and went on. His movement had been too swift for him to realize in which direction he had turned. He was unaware that he crossed the street backward instead of forward. He turned a corner, turned another, and suddenly understood, after walking down the street, that he was in a strange place and had lost his bearings. He could not be far from his lodgings, but he felt like a blind man turned out of the path he knew. He would not stop and address anyone. He could not be certain to whom he might find himself speaking. He would wander until he came upon a clue. He went on. He stopped near a bridge and leaned upon the walls, looking down. As he drew back, he heard something fall with the tinkling sound of coin on the pavement. When he had been in the pawnbroker's, he had taken the gold and thrust it carelessly into his waistcoat pocket, thinking it would be easy to reach when he gave it to a beggar. Some movement he had made in bending had caused a coin to slip out, and it had fallen upon the stones. He did not intend to pick it up, but he heard a shuffling movement near him. As he bent to listen to it, a small head, covered with brilliant red hair, thrust itself out, a small face turning to look up at him slyly with deep-set black eyes. It was a girl, about twelve years old. She pointed with a chapped and dirty hand at the coin. "Pick it up," he said. "You may have it." Her wild shuffle forward was an actual leap. The hand snatched at the coin. She was evidently afraid that he was insincere or would change his mind. The next minute she was on her feet and ready for flight. "Stop," he said. "I've got more to give away." She hesitated, not believing him, yet feeling it madness to lose a chance. "More?" she gasped in a street-strained voice. Then she drew nearer to him, and a change came upon her face. It made her look oddly human. "Gawd, mister!" she said. "You give away a coin like it was nothin'—an' yer've got more!" She was, for her years, so ugly and hardened in voice, skin, and manner that she fascinated him. He stood and stared at her. "Do you know where we are?" he asked glumly. She sidled nearer, her sharp eyes on his face. "I bin watchin' yer," she said. "I sat down and pulled the sack over me 'ead to breathe inside it an' get a bit warm. I watched yer through a 'ole in me sack. You looked all turned 'round. Come along er me an' I'll show yer the way. If yer've give me that coin straight, I'll go with yer myself. Come on, mister."

adapted from The Dawn of a To-morrow by Frances Hodgson Burnett

55. Why does the girl snatch the coin so quickly?

A. She believes that she will have time to buy food at the store if she hurries.

B. She is afraid that the man doesn't mean to give it away or will change his mind.

C. She believes that the coin will roll off of the bridge and into the water below.

D. She is afraid that someone else will come along and grab it before she does.

56. What does the man plan to do with his remaining coins?

A. He intends to spend them at the pawnshop.

B. He intends to give them to a beggar in need.

C. He intends to throw them off of a bridge.

D. He intends to take them home and save them.

57. What is the resolution to the conflict in this story?

A. The little girl helps the man find his way home.

B. The little girl runs away with the man's coins.

C. The man accidentally falls off of the bridge.

D. The man follows his coins back to the pawnshop.

58. How does the man get lost?

A. He gets distracted by a girl on a bridge.

B. He accidentally drops a coin on a bridge.

C. The pawnbroker gives him bad directions.

D. A carriage turns him around the wrong way.

59. What is the conflict in the story excerpt above?

A. A man wanders the streets because he is lost.

B. A man loses a gold coin while standing on a bridge.

C. A man decides to buy something in a pawnshop.

D. A man sees a young girl standing on a bridge.

60. What makes it more difficult for the man to resolve his conflict?

A. He refuses to stop and ask anyone for directions.

B. He loses all of his money when he stops on a bridge.

C. He meets a little girl on a bridge who will not help him.

D. He does not want to spend a lot in the pawnshop.

Ben was a full-time question writer for the quiz show American Genius, where he had worked for the past seven years. Long ago, he had loved it. He had loved the thrill of working for TV, loved telling people he worked for a network, and loved thinking up new questions. He had loved wondering which contestant he would stump next. Secretly, he dreamed of someday becoming the show's host. The fact that he was five-foot-six, weighed 123 pounds, spoke in a near-monotone, and was legally blind without his glasses didn't stop him from dreaming. The only reason most people watched American Genius was for Morgan Finnegan, the show's hunky, Texan, redheaded, hilarious, charming, and (Ben had noticed over the years) intellectually under-qualified emcee. But before he turned thirty a few months ago, Ben had maintained full faith in logic. If he, Benjamin Ziskind, was the smartest person on the staff, then his intelligence would eventually be rewarded. His specialty was in the thousand-dollar-plus category, questions that no one but the true champions could answer. In the past few months, though, his questions had been repeatedly rejected, and now they were interlaced in his mind with questions he asked of himself. adapted from The World To Come by Dara Horn

61. Which of these best describes Ben's conflict?

A. He is jealous of how handsome the host of American Genius is.

B. The show has threatened to fire him if his work doesn't improve.

C. He is not as happy and successful as he once was in his job.

D. The show wants to replace him with a younger and smarter writer.

from Slaughterhouse-Five

by Kurt Vonnegut

Over the years, people I've met have often asked me what I'm working on, and I've usually replied that the main thing was a book about Dresden. I said that to Harrison Starr, the movie-maker, one time, and he raised his eyebrows and inquired,"Is it an anti-war book?" "Yes," I said. "I guess." "You know what I say to people when I hear they're writing anti-war books?" "No. What do you say, Harrison Starr?" "I say, 'Why don't you write an anti-glacier book instead?' " What he meant, of course, was that there would always be wars, that they were as easy to stop as glaciers. I believe that, too. And even if wars didn't keep coming like glaciers, there would still be plain old death. When I was somewhat younger, working on my famous Dresden book, I asked an old war buddy named Bernard V. O'Hare if I could come to see him. He was a district attorney in Pennsylvania. I was a writer on Cape Cod. We had been privates in the war, infantry scouts. We had never expected to make any money after the war, but we were doing quite well.

62. What technique does the author use to reveal the narrator's background in war?

A. the setting

B. foreshadowing

C. satire

D. flashback

Kevin walked through the animal shelter with his son, stopping every minute or so to read a dog‟s story to him. “They all look so sad, Daddy! I wish we could take them all!” Ryan exclaimed. “I know, son, but at least we‟re able to take one out of here.” Something caught Ryan‟s eye, and he rushed over to a kennel at the end. “Daddy, look! A Dalmatian—just like in the movie!” Kevin shuddered as he spotted the Dalmatian. All of a sudden he was 8 years old again. His friend, Paul, had invited him over to play with his Dalmatian. “Cool! You‟re so lucky! My parents won‟t let me have a dog,” he remembered saying. “He can play fetch, too! Watch!” Paul said as he raised the ball high. Domino‟s eyes never left the ball. As soon as the ball left Paul‟s fingertips, Domino was off sprinting after it. Catching it in mid-air, he then ran back to his young owner for another turn. “Let me try!” Kevin took the ball from Paul and waved the ball in front of Domino‟s face. He pretended to throw it and then drew his hand back toward his face. Domino leapt forward but soon realized that the ball had never left the kid‟s hands. He looked back and forth several times as Kevin continued to tease him and laugh with glee. Finally, Domino couldn‟t wait any longer. He leapt at the ball in Kevin‟s hand, but missed. Instead, his teeth scraped Kevin‟s chin. “Daddy?! Hello?! Can we take home the Dalmatian?” Ryan was jumping and waving his arms. Rubbing the scar on his chin, Kevin snapped out of it. No way was he going to let his child have a Dalmatian.

63. The author's effective use of flashback allows the reader to conclude

A. that Paul had never seen his dog hurt anyone.

B. that Ryan likes the movie 101 Dalmatians.

C. that Paul's dog gave Kevin a scar on his chin.

D. that Ryan's mom is making Kevin get Ryan a dog.

64. The author includes a flashback in the story to show

A. why Kevin does not want his son to have a dog.

B. why Kevin is opposed to getting a Dalmatian.

C. why Kevin is at the animal shelter with his son.

D. why Kevin does not speak to his old friend Paul.

A man awakened in a third-story bedroom in a lodging-house in a poor street in London, and as his consciousness returned to him, its slow and reluctant movings confronted the second point of view—marked by enormous differences. He had not slept two consecutive hours through the night, and when he had slept he had been tormented by dreary dreams, which were more full of misery because of their elusive vagueness, which kept his tortured brain on a wearying strain of effort to reach some definite understanding of them. Yet when he awakened, the consciousness of being again alive was an awful thing. If the dreams could have faded into blankness and all have passed

with the passing of the night, how he could have thanked whatever gods there be! Only not to awake—only not to awake! But he had awakened. The clock struck nine as he did, so consequently, he knew the hour. The lodging-house servant had aroused him by coming to light the fire. She had set her candle on the hearth and done her work as stealthily as possible, but he had been disturbed, though he had made a desperate effort to struggle back into sleep. That was no use—no use. He was awake and he was in the midst of it all again. Without the sense of luxurious comfort, he opened his eyes and turned upon his back, throwing out his arms flatly, so that he lay as in the form of a cross, in heavy weariness and anguish. For months he had awakened each morning after such a night and had so lain like a crucified thing. adapted from The Dawn of a To-morrow by Frances Hodgson Burnett

65. Why is the man in this story so tired?

A. He has been working too hard.

B. He has not had any coffee yet.

C. He has not slept well for months.

D. He has to work during the night.

66. How does the servant contribute to the conflict?

A. The servant draws the curtains to light up the room.

B. The servant wakes the man up to eat breakfast.

C. The servant tries to help the man fall back asleep.

D. The servant disturbs the man by lighting the fire.

67. Why has the man's sleep not comforted him?

A. It makes him strangely happy.

B. It makes him forget reality.

C. It keeps him from thinking.

D. It is full of miserable dreams.

68. What is the conflict in the story excerpt above?

A. A man cannot wake himself up from a terrifying nightmare.

B. A man is terrified by a servant who comes in during the night.

C. A man oversleeps and is very late getting himself to work.

D. A man struggles against waking up and tries to fall back sleep.

Helping Hands

by J. Robbins

Ainslee pulled on her tennis shoes and began to gather up the old soda cans, newspapers, and

milk cartons from her house. She tossed them into a large garbage bag and headed out the door. "I'll be back in an hour, Mom!" she called over her shoulder. The sunny day lifted her spirits as she walked across her front lawn. The recycling center was only a mile away from her house, and she enjoyed the walk—especially on a day like this. As she waited at the crosswalk, she lowered the unwieldy bag of recycling to rest on the ground. I really should have made two trips, she thought. "Good morning, Mrs. Moss," Ainslee called as she walked past her elderly neighbor's house. Mrs. Moss waved and smiled, but Ainslee could see that she was struggling to move a large tray of plants from her greenhouse to her flower bed. I really should help her, Ainslee thought. But on the other hand, I need to get this recycling to the center this morning. The light changed from green to red as Ainslee hesitated. "Is everything all right, dear?" asked Mrs. Moss, her voice full of concern. Ainslee dropped her bag of recycling on the curb and jogged across Mrs. Moss' lawn. "Can I help you with that?" she asked. Mrs. Moss dropped the heavy tray and stood back. "That would be wonderful, dear," Mrs. Moss told her gratefully. "I usually try to do these things myself, but I'm not as young as I used to be. I want to get these plants in the ground as soon as possible. They help purify the air, you know. It's just my little way of helping the planet." Ainslee easily moved the tray of plants into place and turned to leave. "You are a treasure!" said Mrs. Moss as she hugged Ainslee goodbye. As Ainslee retrieved her bag of recycling and crossed the street, she felt terrific. Good thing I stopped! she thought. It feels great to help the planet and another person at the same time.

69. What is Mrs. Moss' problem in this story?

A. She needs help moving a heavy tray of plants.

B. She is worried that Ainslee is acting recklessly.

C. She has no room on her lawn for her new plants.

D. She needs ideas for ways to help the planet.

70. Why does Ainslee put the bag of recycling down on the curb?

A. She is leaving the bag for Mrs. Moss to find.

B. She is exhausted from carrying the heavy bag.

C. She decides to give up her plan to recycle.

D. She needs her hands free to help Mrs. Moss.

71. What causes Ainslee to feel conflicted in this story?

A. She knows that her neighbor needs help, but her allowance is too small to let her

lend money to anyone.

B. She doesn't have the time to help her neighbor, but she feels guilty because Mrs.

Moss pays her to recycle.

C. She tries to teach her neighbor about helping the planet, but Mrs. Moss continues to

forget to recycle.

D. She wants to help her neighbor, but she doesn't want to get distracted from her trip

to the recycling center.

Sympathy Pains

by J. Robbins

“What‟s the matter, Betty?” asked Mycroft as he sat down next to his best friend. The library was almost deserted, and his voice echoed eerily through the stacks of books. “It‟s my brother again,” Betty replied. “He reviewed my English paper and tore it to shreds. He didn‟t even like the title! I think he enjoys making me feel stupid. If I'm as stupid as he thinks I am, I'll probably fail this class.” She felt tears well up in her eyes again and angrily blinked them away. “Don‟t let him get to you, Betty,” said Mycroft as he patted her hand sympathetically. Betty‟s brother Thedrick was a straight-A student, but he had no clue when it came to treating people with respect. “Why don‟t we work on your paper together?” “That would be great if it weren‟t due today,” Betty told him. “I feel like I should start over from scratch, but how can I get it finished in time?” “You worked on that paper for weeks!” Mycroft exclaimed. “There is no way you‟re going to throw it out.” “Hello, sis,” called Thedrick as he approached the two friends. Betty averted her eyes, and Mycroft scowled at the intruder. “If you needed more help with that mess of a paper, you should have called me. I can run intellectual circles around this guy.” “Please leave, Thed,” Betty replied firmly. “We may be idiots compared to you, but at least we‟re nice idiots. Your kind of „help‟ isn‟t welcome here.” Her brother smirked as he walked away. Mycroft grabbed Betty‟s paper and started reading the angry red comments scribbled on every page. “These comments don‟t make any sense,” he said in frustration. “Your paper was fine the way it was. I don‟t think you should make a single change.” Betty suddenly sat upright. “I know!” she exclaimed. “We can take it to Adirondack Jones. She‟s never gotten a bad grade on a paper. She can help us figure out what to do.” Mycroft and Betty rushed out of the library to find the star pupil of Hanover High. When Adirondack heard the situation, she got a fierce glint in her eyes. “I would love to see Thedrick taken down a few notches,” Adirondack told Betty. “You have a great paper here, and you should turn it in as it is. I think once you have a few A-pluses under your belt, you‟ll have the self-confidence to stand up to Thed‟s bullying.” Betty sighed in relief as she and Mycroft walked to class. “Thank goodness,” she told her friend. “I didn‟t think I could face writing another word. I forgot to ask what topic you chose for your paper, Mycroft.” “Oh, no,” groaned Mycroft as his face paled. “I think I left my notebook on the table in the library. My paper was inside that notebook!” The two of them rushed into the library to find that the notebook and the paper had vanished without a trace. “Well, it looks like one of us will be writing a paper from scratch after all,” sighed Betty. Mycroft was too busy pulling blank paper and a pen out of his backpack to reply. He began scribbling furiously as Betty patted his shoulder in sympathy.

72. What is the main conflict of the story?

A. Mycroft uses Betty's insecurities to manipulate her into writing his research paper.

B. Thedrick's insensitive comments cause Betty to worry that she will fail her class.

C. Mycroft tries to weaken the relationship between Betty and her brother Thedrick.

D. Betty's argument with Thedrick causes him to steal Mycroft's paper from the library.

73. What happens after Betty and Mycroft talk to Adirondack?

A. Betty refers to herself and her best friend as "idiots."

B. Mycroft discovers that he has to write another paper.

C. Thedrick learns that Betty has not changed her paper.

D. Adirondack teaches Thedrick a lesson about cheating.

74. How is the main conflict in this story resolved?

A. Betty and Adirondack plan to frame Thedrick for cheating.

B. Mycroft discovers that Thedrick stole his paper from the library.

C. Betty gets a second opinion about the quality of her paper.

D. Thedrick's bullying causes Mycroft to doubt his writing ability.

Margaret walked the house as if she had just learned to walk. Each step let out a squeak and a grunt from the house's floorboards. The house itself was not foreign land. Margaret had lived in this house as a child. The once golden walls now barely held any of the sheen they once did. They looked as if they had spoiled and rotted. The nails seemed to reach out and grab at her each time she moved. The smell was just bearable enough to get used to. Margaret searched the kitchen for even the trace scent of freshly-baked banana bread, but all she could smell was the leftover scent of a wet stray that must have used the house as shelter from the rain. As a child, she loved this home. It had been years since Margaret had lived in this home. After her parents had passed away, she had moved from foster home to foster home trying to forget this place. Every time she thought of her mother and father, she thought of this place. It was too painful to remember, and if she couldn't remember one without the other, she didn't want to remember any of it. After Margaret had made her first million, she had vowed to go back and buy the house just to keep it in her family—even though she was all that was left of her real family. Then, life got in the way. Money was being made. Success needed to be maintained. She had worked hard to become the CEO of The Dinoso Group, a mixed-media firm. The house became an afterthought. It wasn't until she read in the paper that a private company was planning on buying most of the land in her old neighborhood to make a parking lot that Margaret finally made time. She bought all the land to stop them, but now, she was left with a neighborhood of run-down houses and a slew of ghosts from her past. She wanted to be rid of it all, but she thought it at least deserved a better fate than a parking lot. As she made her way outside, she looked to the yard and remembered how green the Bermuda grass used to look when she and her father would chase each other. Just as she was leaving, she heard the sounds of children playing stickball in the yard of the abandoned house next door. They did their best to dodge the craters, nails, and broken glass in the yard. That's when Margaret decided to turn the abandoned block into a park for the neighborhood. She got into her car and drove away eager to get started. She watched as the house and neighborhood grew smaller in her rear-view mirror. adapted from "Cinder Creek Cousin" by c.safos

75. Why does Margaret buy the house if it makes her unhappy?

A. She has promised her parents to take care of the house and keep it in the family.

B. Her company is interested in the neighborhood and wants to build an office there.

C. Her parents refuse to stop bothering her until she saves her old neighborhood.

D. She thinks that the house deserves to be something better than a parking lot.

76. How does Margaret resolve her main conflict in the story?

A. She decides to tear down the house and build a park for the neighborhood children.

B. She decides to sell her house to a company who will turn the area into a parking lot.

C. She decides to rebuild the house and make it look like the house she grew up in.

D. She decides to quit her job as CEO of a major media and advertising company.

77. Which of the following describes the main conflict in the story?

A. A woman tries to become the CEO of a major advertising and media company.

B. A woman tries to stop the neighborhood children from playing in her yard.

C. A woman deals with the ghosts of her past after buying her childhood home.

D. A woman deals with the death of her parents who have left her a house.

Pouring vegetable oil into a pot for the french fries, Renee set the stove to high. She felt overwhelmed with everything that needed to be done. Why did my parents have to come this weekend? she thought to herself. With her son‟s soccer game Saturday afternoon, her daughter‟s basketball game Saturday night, and her husband‟s dinner party Sunday evening, she really didn‟t have the time or the patience to deal with her mother‟s criticism. “Beep! Beep! Beep!” the timer cried its annoying tune. The meatloaf was ready. Renee grabbed her oven mitts and reached into the oven to take it out. “Ring! Ring! Ring!” “Oh! You‟ve got to be kidding me!” Renee shouted as she shut the oven door with her foot. She quickly placed the meatloaf on the counter in order to grab the phone. “Mom?! Where are you? You were supposed to pick us up an hour ago!” Renee‟s hand flew to her head as she remembered. Today was Friday, the one day her children didn‟t have any after-school activities. She had been so caught up with making dinner and straightening up the house that she completely forgot. “I‟ll be right there! I‟m so sorry, honey! I‟m leaving right now.” With that, she slammed the phone into the receiver, grabbed her keys and purse, and rushed out into the garage. Smoke began to form over the stove as the hot oil burned.

78. Which sentence best shows the author's effective use of foreshadowing?

A. "She quickly placed the meatloaf on the counter in order to grab the phone."

B. "Today was Friday, the one day her children didn't have any after-school

activities."

C. "Smoke began to form over the stove as the hot oil burned."

D. "She felt overwhelmed with everything that needed to be done."

The Vendors

by A. Gautam

"Honey! Pure, sweet honeeeeeeeeey!" The vendor lady's shrill voice echoed in the quiet Saturday afternoon in Kathmandu. People in the city had just finished washing their clothes, bathing their children, and enjoying a late morning meal. As I tried to read a book lying on my straw mat in the balcony, my eyes got heavier under the influence of the warm April sun. The vendor's voice echoed in my ears like a lullaby. "Child! Is your mother home?" The honey-seller was already in the balcony, and she was not just speaking in my imagination. "Nah. Did you know Ma?" I asked the middle-aged woman who was hiding half of her face with her sari and still carrying a big jar of honey as if it were her infant child. "She bought a kilo of honey for you from me all the time," the woman spoke between her breaths, still standing. "Only pure, sweet honeeey—the best kind for best lady." I thought about all these street vendors who swore by my mother's character. This vegetable-seller always gave Mother the freshest-looking cauliflowers on a discount. Even the peanut-seller gave Mother extra handfuls of nuts when she made the purchase. The vendors always came on Saturdays when Mother was heard singing and washing clothes in near the tap. I remembered how she left everything on the big aluminum bowls and washed her hands quickly to make tea for the vendors. As I watched the honey-seller look around desperately for my mother, I understood why they all loved her.

79. The author uses flashback in order to reveal

A. how skilled the vendors are at selling.

B. what happened to the narrator earlier.

C. the mother's hospitable character.

D. show a typical day in Kathmandu.

80. Which is an example of flashback in the passage?

A. The narrator thinking of the vendors that came to his or her house.

B. The narrator describing a normal Saturday afternoon in Kathmandu.

C. The narrator trying to keep awake while reading in the balcony.

D. The narrator trying to figure out the middle-aged honey-seller.

Sara always woke up early on class picture day, but this year was different. She had a plan to avoid the embarrassment of another terrible picture. After her sister, Bianca, left for class, Sara slipped into her older sister's room. Bianca's room was covered with neat piles of clothes, shoes, and purses. Sara slid the closet door open and browsed through the perfectly ironed shirts. Bianca

always kept her shirts in perfect condition, and she never let anyone borrow her clothes. Sara was willing to risk Bianca's anger today, as long as she looked her best in her picture. What's the worst that could happen? Sara thought as she put on her sister's favorite blue sweater. "You'd better hurry, Sara!" her mother called. Sara smiled to herself as she entered the kitchen. As long as she returned Bianca's sweater in perfect condition, her sister would never know. Her mother handed her a piece of toast, and Sara slathered it with a thick layer of butter and grape jelly. As she raised the toast to her mouth, a glob of jelly slid off the bread and fell toward her chest. "No!" Sara gasped.

81. Which detail from the story foreshadows Sara spilling jelly on the sweater?

A. Bianca always keeps her clothes in perfect condition.

B. Sara wakes up early to get ready for class picture day.

C. Sara's mother warns her not to be late for school.

D. Bianca's entire room is covered with piles of clothes.

Answers

1. D

2. D

3. D

4. D

5. A

6. D

7. C

8. C

9. D

10. D

11. C

12. B

13. B

14. D

15. A

16. C

17. D

18. C

19. C

20. C

21. B

22. A

23. C

24. B

25. C

26. B

27. C

28. A

29. C

30. C

31. C

32. C

33. A

34. B

35. B

36. B

37. A

38. B

39. D

40. C

41. C

42. A

43. C

44. B

45. A

46. B

47. D

48. C

49. A

50. B

51. B

52. B

53. B

54. B

55. B

56. B

57. A

58. D

59. A

60. A

61. C

62. D

63. C

64. B

65. C

66. D

67. D

68. D

69. A

70. D

71. D

72. B

73. B

74. C

75. D

76. A

77. C

78. C

79. C

80. A

81. A

Explanations

1.

Paragraphs 2, 3, and 4 in this story reveal the narrator's love for his red dirt bike. The

narrator states, "From the first moment I laid eyes on her, I knew that we would be

champions together." By reading this part of the story, the reader can understand the

narrator's desire to win the race.

2.

The story involves the narrator's disappointment that rain has canceled a dirt bike race.

The weather temporarily prevents the narrator from accomplishing his goal.

3.

According to the story, Sydney's supervisor explains how to operate an industrial sewing

machine, but she doesn't understand his instructions. She decides to "just do her best"

and eventually breaks a sewing machine. Her failure to ask for clarification from her

supervisor contributes to the main conflict in the story.

4.

The main character of this story, Sydney, breaks an industrial sewing machine on her

first day as an intern at Onegin Fashion Creations. After she breaks the machine, she

thinks, "I can't lose this internship . . . I'll never get a scholarship from OFC if I get fired

on my first day." Sydney's main conflict in the passage centers on a mistake that could

cost her a scholarship.

5. In this passage, Sydney breaks a sewing machine while working at Onegin Fashion

Creations. When her fellow workers discover the problem, they help her by removing

the broken machine and letting her use a new one. These actions allow Sydney to finish

her project for Mr. Zaretsky.

6.

The story comes to a happy ending when Hughie's generosity toward the beggar model

is handsomely rewarded. The beggar is a baron in disguise who is so impressed with

Hughie's actions that he gives him the funds necessary to marry his beloved.

7.

The conflict at the beginning of the story is that Hughie cannot marry Laura because her

father, the Colonel, is worried about Hughie's lack of money: "The Colonel was fond of

Hughie, but would not hear of an engagement. 'Come to me, my boy, when you have

ten thousand pounds, and we will see,' he used to say."

8.

When Trevor tells Hughie that the beggar is really a rich baron, Hughie feels

embarrassed. Thinking that it was going to help the beggar, he had given him a coin. He

is afraid that the baron is insulted that Hughie did not know who he was.

9.

In the story, Hughie pities the beggar. He helps the beggar because he feels sorry him.

The story says, "Hughie pitied him and checked his pockets for money. He slipped his

largest coin into the beggar's hand."

10.

The most significant plot point of the story is when Hughie wins the favor of the baron.

He does this by giving a beggar, who is really the baron, a coin. Think about what this

action leads to at the conclusion of the story.

11.

Justine's mother makes Justine feel stressed. In the third paragraph, Justine tries to

figure out where her mother's ideas come from in order to help reduce her "stress." In

the fourth paragraph, she describes trying to keep things from happening that might

make her mother cry. These descriptions help to build the main source of conflict in the

story—Justine's relationship with her mother.

12.

The last paragraph shows the reader that Justine is concerned about her mom. She tries

to prevent her mom from crying. She used to keep a list of things that make her mother

cry, but she stopped writing things down because the items on the list were getting too

weird. The examples she gives tell the reader that the mother cries very easily. This

quality of the mother being emotionally unstable is central to the plot of the story. For

one thing, it means that Justine will have to take on more responsibility than a kid

normally would.

13.

The major event in the passage is that d'Artagnan sees Aramis drop a handkerchief and

tries to return it in front of the guards. This is the event that the whole passage revolves

around. The other answer choices are either minor events to the plot or didn't happen in

the passage.

14.

At the beginning of the story, the reader discovers that d'Artagnan wants to practice

politeness because he keeps getting into one messy situation after another. He thinks

that Aramis is the "perfect role model." He lies about not seeing Aramis drop the

handkerchief because he probably wishes to avoid Aramis getting into a confrontation

with the guards.

15.

The beginning of the passage mentions how d'Artagnan wishes to practice politeness

and how Aramis is his role model. D'Artagnan sees Aramis drop the handkerchief and

place his foot on it. He retrieves it, believing it is polite to return it.

16.

Aramis becomes upset that d'Artagnan picks up the handkerchief in front of the guards,

causing an awkward situation. He is further angered by d'Artagnan's tone and

accusations of lying. "Ah, you take it with that tone, do you? Well, I will teach you how

to behave yourself," says Aramis.

17.

In the tenth paragraph, Aramis proposes that they "each take a half of the

handkerchief." In the next paragraph, "The young men burst into a laugh. In a moment

or two the conversation ceased, and the three guardsmen left after having shaken

hands." This means that the guards laugh and declare the matter settled.

18.

The author doesn't directly reveal Aramis' full motivations regarding the handkerchief.

However, the reader can guess by his denials and reaction to d'Artagnan that he was

trying to hide it from the guards. He becomes angered when d'Artagnan discovers it and

hands it to him, giving him a nasty look. Later, he hints that he tread upon it for a

reason. "I suppose you knew very well that people do not tread upon handkerchiefs

without a reason!" he says.

19.

In the fourth paragraph, the guard asks Aramis, "Will you persist in saying, Aramis, that

you are not on good terms with Madame de Bois-Tracy, when that lady has the kindness

to lend you one of her handkerchiefs?" This tells the reader that the guard recognizes

the handkerchief that d'Artagnan picks up. He knows that it belongs to Madame de Bois-

Tracy.

20.

In the middle of the story, John shouts, "Hey, a bite! I've got one!" Then, the story

says, "As Xavier ran to help him, he heard a loud crack, like a rifle shot." The loud crack

that Xavier hears is the sound of the breakup starting to crack the surface of the river.

From this information, the reader can tell that just as the breakup starts to crack the

surface of the river, John catches a huge fish.

21.

The eighth paragraph shows that Xavier knows what happens in a breakup. It says, "He

knew that during a breakup, the river cracked with noises like gunshots. Sheets of ice

broke loose and tumbled downstream." Xavier immediately recognizes the danger that

he and John are in when he hears "a loud crack, like a rifle shot." His quick thinking

gives him and John enough time to rush and make it to shore safely.

22.

The main conflict in the story happens when the river starts to break apart. The boys

are ice fishing on the frozen river and must make it safely to shore. Most of the story is

about how the boys try to resolve this conflict. The story doesn't end until this conflict is

resolved.

23.

A flashback will often explain why the plot or character is a certain way in the present.

The flashback in the story shows how Sai worked with Ali on a science project and

developed romantic feelings for him. It also shows how things could have turned out to

be different if Sai had not left for Tokyo.

24. A flashback is a literary device in which an earlier event is inserted into the normal

chronological order of a narrative. The story goes back in time when the author

describes Sai's first science experiment with the NewEinsTess Club. The incorrect

answer choices happen in the normal chronological order of the story.

25.

In this story, the members of Evil Robot Theory are trying to practice when a police

officer forces them to stop due to complaints from a neighbor. Lautrec and his friends

are worried that their inability to practice will threaten the future of the band.

26.

Lautrec tells his friends that Mrs. Gretsky "hates my family because we won't cut down

that huge oak tree in our backyard." This unresolved conflict influences the plot of the

story.

27.

In this story, the four members of the band Evil Robot Theory are told they cannot

continue their practice in Lautrec's garage. This conflict is resolved when Skyler offers to

allow the band to play in the basement of her parents' house.

28.

At the beginning of the story, Peter mentions that he has spent all night preparing for

his history test. However, as the story continues, he realizes that he studied the wrong

book, and his mistake has left him unprepared for the test.

29.

In the story, Steve and Peter both mention Mr. Amend's refusal to allow students to

retake tests. Mr. Amend's policy contributes to the conflict Peter experiences during the

story.

30.

Foreshadowing is a literary device in which an author gives suggestions or clues about

future events in a story. In this story, Peter brags about studying for an American

history class, but he says he prepared by reading a book that takes place in outer

space. This detail reveals to the reader that Peter mistakenly read the wrong book.

31.

Foreshadowing is a literary device in which an author gives suggestions or clues about

future events in a story. In this story, Peter is determined to make a good grade on his

American history test. While discussing the book he studied for the test, he says, "I

thought the part with the werewolves was a little over the top." This statement is a clue

to the reader and foreshadows Peter's realization that he read the wrong book.

32.

The passage describes how thick the fog is. In the second paragraph, the man has to

walk very close to the buildings so that he does not fall into the street. He is afraid of

falling into the street because any traffic in the street would not see him and might hurt

him. The fog is so thick that even traffic is being slowed by it.

33.

Read the story carefully. In the plot of this excerpt, a man is trying to make his way

through thick fog. The story says, "It was well for him that he had but a corner or so to

turn before he reached the shop."

34.

At the beginning of this passage, the reader learns that the fog is very thick. The

passage says that the man sees yellow haze in his house. He must see the yellow haze

because the fog is so thick outside that it is coming into the house.

35.

The man knows he doesn't have far to go to make it from the house to the shop. He

knows the corners he has to turn. In the third paragraph, he mentally repeats the

directions and finds his way through the dense fog.

36.

The author builds suspense in a number of ways as the moment of the fight gets closer.

For example, he describes Rossamünd as not very confident with the fighting stick. The

fifth paragraph says, "Rossamünd was never able to get a comfortable hold on a stock."

This makes the reader think he will be at a disadvantage in the fight. This builds

suspense in the plot because it makes the reader want to find out what happens.

37.

In this story excerpt, Rossamünd must fight his enemy, Gosling. All of the details and

events in the story center around that conflict—the preparation for the fight and the

fight itself.

38.

After Pola leaves the theater in anger, Nadezhda states, "I forgot that she hates for

anyone to question her talent as a writer." Pola's sensitivity about her writing skills

contributes to the conflict in this passage.

39.

In the last paragraphs of this passage, Gerhardt, Neville, and Nadezhda are leaving the

theater to find Pola. Nadezhda suggests that they beg Pola to return, and Gerhardt

changes his opinion about the death scene in Pola's play. The conflict in the passage is

resolved when the three actors decide to perform Pola's play.

40.

In this passage, Pola angrily leaves the theater after the three actors complain about

her script. She states that she worked on the script for two days while working a full-

time job. The reader can conclude that Pola believes her hard work is unappreciated by

Neville, Gerhardt, and Nadezhda.

41.

This passage describes the efforts of three actors, Gerhardt, Neville, and Nadezhda, to

write a new play after they offend Pola, the script writer. Their struggle to produce a

new script in time for their first performance is the primary conflict in this passage.

42.

Foreshadowing is a literary device in which an author gives suggestions or clues about

future events in a story. In this story, the author uses the book Marco is reading to

provide clues about what will happen next. By following the clues in this story, the

reader can guess what is most likely to happen to Marco next.

43.

Foreshadowing is a literary device in which an author gives suggestions or clues about

future events in a story. In this story, the author uses the book Marcos is reading to

provide clues about what will happen next. The sentence, "In a matter of minutes, his

worst enemy, a boy named Julius, would enter the store and confront him," is an

example of foreshadowing.

44.

In "The Race," Serena handles the stress of participating in a big race by focusing on

her beloved grandmother.

45.

At the beginning of the passage, the narrator says, "Have you ever experienced that

stage in life where nothing seems to go right? That's where I am right now, and I can

assure you that it definitely stinks." These sentences hint to the reader that something

isn't going to happen the way the narrator wants it to. For example, the narrator gets a

C in English, and her mother yells at her for it.

46.

In this passage, Biff and his younger brother, Happy, are discussing Biff's conflict with

his father. Happy suggests that their father is concerned about Biff's uncertain plans for

the future, and he feels that it may be contributing to the conflict.

47.

The passage above develops the complication, or conflict, that will guide the rest of the

plot. Most story plots revolve around some kind of conflict, which the characters work to

resolve.

48.

Marguerita's major conflict is that her boyfriend does not love her. The passage

describes a situation in the garden where her boyfriend is explaining this fact, and

Marguerita is trying not to cry.

49.

Jarod is nervous before he speaks to his class, but he is proud of himself afterwards. His

problem is resolved when he expresses his feelings to his class.

50.

In this story, Jarod is nervous about speaking in front of his classmates. He is afraid

that he will say the wrong thing and embarrass himself. The main conflict in this story is

between Jarod and himself.

51.

In the fifth paragraph of this story, Jarod tells his class that he likes to make other

people laugh. He wants other people to feel comfortable around him, even though he is

different. Jarod is motivated to join Mr. Collins' class by the desire to use laughter to

make friends.

52.

This story centers around Cherie's search for her missing passport. When Marissa finds

the lost passport, Cherie's main conflict is resolved.

53.

In the final paragraph, the reader learns that Marissa also misplaced her passport on

her first overseas trip. Her experience is similar to Cherie's.

54.

The story states that Cherie did not want to make a bad impression on Mr. Turner. In

other words, she did not tell him about her situation because she wanted to avoid

disappointing him.

55.

The passage says, "The hand snatched at the coin. She was evidently afraid that he was

insincere or would change his mind." She is prepared to run away immediately so that

she'll be able to keep it.

56.

Early in the passage, the man thinks that the decent thing to do would be to give away

his remaining coins. He places them in the pocket of his coat so that he can easily reach

them when he comes upon a beggar who would be better off with the money. The

passage says, "When he had been in the pawnbroker's, he had taken the gold and

thrust it carelessly into his waistcoat pocket, thinking it would be easy to reach when he

gave it to a beggar."

57.

The man becomes fascinated with the girl after offering her all of his remaining coins.

He finally asks her where they are, and she decides to show him the way back. "Come

along er me an' I'll show yer the way," she says.

58. In the second paragraph, the man isn't paying attention as he walks out of the

pawnshop. A carriage unexpectedly moves into his path, causing him to get turned

around and lose his way.

59.

Although all of the answer choices are events that occur in the passage, only one is a

conflict that is the source of the plot. The man becomes lost near the beginning of the

passage. The passage says, "He turned a corner, turned another, and suddenly

understood, after walking down the street, that he was in a strange place and had lost

his bearings." He spends the rest of the story wandering the streets. His problem, or

conflict, is how he's going to make his way back home.

60.

Soon after he becomes lost, the passage states, "He would not stop and address

anyone. He could not be certain to whom he might find himself speaking." He decides to

wander about until he comes upon something he recognizes. This makes his finding his

way even more difficult.

61.

This paragraph describes a man who used to be very happy with his work. He has loved

working for the network and writing questions for the quiz show, but a conflict gradually

develops. Ben wants to replace the emcee of the show one day, but that has not

happened yet in the seven years he's been there. Also, his questions are being rejected

more and more. It appears that his career is going downhill. Ben is not as happy with

his job as he once was. This is the main conflict in the passage.

62.

Notice that the reader learns about the narrator's actual role in the war through

flashback. Earlier in the passage, the reader only learns about the narrator's opinion on

wars. In this famous book, Vonnegut switches between the past and the current

narrative time making the "time" of the story "disjointed."

63.

In the flashback, Paul's dog, Domino, "leapt at the ball in Kevin's hand, but missed.

Instead, his teeth scraped Kevin's chin." Then, in the story's present sequence of

events, the passage says that Kevin rubs "the scar on his chin." A flashback will often

explain why the plot or character is a certain way in the present. In this case, the

author's effective use of flashback explains why Kevin has a scar on his chin—Paul's dog

gave it to him as he tried to grab the ball with his teeth.

64.

Look at the story closely. The story goes back in time to a moment when Kevin was 8

years old. The flashback reveals that a Dalmatian hurt Kevin when he was young. This

tells the reader why Kevin does not want to get a Dalmatian. He does not want his son

to get hurt by a Dalmatian like he did.

65.

Throughout the passage, the reader learns how tired the man is. He did not sleep well

during the night and is tired the morning that the story takes place. At the end of this

passage, the reader learns that the man has not been sleeping well for many months.

This tells the reader why the man is so tired.

66.

Even though she tries to be as quiet as possible as she does her work, the servant

disturbs the man trying to sleep by coming to light the fire. The last paragraph says,

"The lodging-house servant had aroused him by coming to light the fire. She had set her

candle on the hearth and done her work as stealthily as possible, but he had been

disturbed. . . ."

67.

In the first paragraph, the man thinks about how he has not been comforted by the little

sleep he has gotten. He goes on to say that the little sleep he gets is full of "dreary

dreams." He cannot enjoy the little sleep he gets because he has these miserable

dreams while he sleeps.

68.

The man has not slept for two consecutive hours. He doesn't want to awaken because

he's even more miserable awake. He desperately struggles to go back to sleep.

69.

This story is about a young girl who helps her neighbor, Mrs. Moss, with a problem. The

third paragraph of this story states that Mrs. Moss was "struggling to move a large tray

of plants."

70.

In this story, Ainslee puts her bag of recycling down on the curb when she sees that

Mrs. Moss needs help with a problem. She needs to have her hands free to assist her

neighbor.

71.

In this story, Ainslee is enjoying her walk to the recycling center when she realizes that

her neighbor has a problem. She hesitates at the crosswalk because she wants to help

Mrs. Moss, but she also wants to complete her trip to the recycling center. This decision

is a source of internal conflict for Ainslee.

72.

In this story, Betty states that her brother, Thedrick, reviewed her paper and "tore it to

shreds" with his comments. She tells her friend Mycroft, "If I'm as stupid as he thinks I

am, I'll probably fail this class." The main conflict of this story is that Thedrick's

insensitive comments cause Betty to worry that she will fail her class.

73.

After Betty and Mycroft talk to Adirondack, Mycroft discovers that his paper has

disappeared from the library. He is hurrying to write another paper at the end of this

story.

74.

In this story, Betty worries that her paper will not receive a passing grade. After she

talks to Adirondack, a student who earns good grades, Betty feels more confident in the

quality of her paper.

75.

Even though the house brings back painful memories for Margaret, she is still attached

to it. The story says, "She wanted to be rid of it all, but she thought it at least deserved

a better fate than a parking lot." Margaret doesn't want to see the house turned into a

parking lot. She buys the land to protect it.

76.

The story is about a woman who buys her old childhood home, which brings about many

memories that she's tried to forget. She wants to forget the memories and the house,

but she still feels a connection to the house. To deal with these memories, she decides

to tear down the house and build a park for the neighborhood. This way, she can finally

get over the memories of her past, and she gets to help out her old neighborhood.

77.

The story is about a woman who buys her old childhood home, which brings about many

things she's tried to forget. Throughout the passage, she deals with these memories.

The story doesn't end until she comes to terms with her past.

78. Foreshadowing is where future events in a story are suggested or hinted by the author

before the events happen. It is a method used to build suspense by providing hints of

what is to come. In other words, foreshadowing gives the reader clues about what will

happen next in a story. The last sentence in the passage hints to the reader that a fire

may break out in the house. The mother, Renee, rushes so quickly out of the house that

she forgets to turn off the stove. The pot of oil that she was going to fry french fries in is

left unwatched. The passage says, "Smoke began to form over the stove as the hot oil

burned."

79.

A flashback will often explain why the plot or character is a certain way in the present.

The last paragraph of this story goes back in time and describes the narrator's mother

dealing with the vendors with hospitality. The flashback shows the mother leaving her

task at hand to make tea for the vendors and helps reveal the mother's character.

80.

A flashback is a literary device in which an earlier event is inserted into the normal

chronological order of a narrative. The story goes back to a time when different vendors

came to the narrator's house. The flashback helps the narrator understand why the

vendors were fond of his or her mother.

81.

Foreshadowing is a literary device in which an author gives suggestions or clues about

future events in a story. In this story, the fact that Bianca keeps her clothes in perfect

condition suggests to the reader that something bad will happen when Sara borrows her

sweater. This detail is an example of foreshadowing.

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