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9 781943 008629Printed in Texas on recycled paper.
ENGLISH I EOC READINGSTAAR® Preparation and Practice
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
• 31 passages with over 180 authentic STAAR questions
• 18 reading skills with STAAR Strategies
• 3-step approach for efficient remediation
ENG
LISH I EO
C READ
ING
STAA
R Preparation and Practice
1: Literary TextsFiction
Diagnostic Test, Reading Skills & Practice,Post Test
DramaDiagnostic Test, Reading Skills & Practice,Post Test
Literary NonfictionDiagnostic Test, Reading Skills & Practice,Post Test
PoetryDiagnostic Test, Reading Skills & Practice,Post Test
2: Informational TextsExpository
Diagnostic Test, Reading Skills & Practice,Post Test
PersuasiveDiagnostic Test, Reading Skills & Practice,Post Test
3: Paired TextsDiagnostic Test, Reading Skills & Practice,Post Test
ENGLISH I EOC READING CONTENTS
Visit SiriusEducationSolutions.com for additional STAAR EOC resources.
2017 UPDATE
2017 UPDATE
Use with Your Students!
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STAAR® is a registered trademark of the Texas Education Agency. The Texas Education Agency does not endorse this program or its content. Sirius Education Solutions is not affiliated with the Texas Education Agency or the State of Texas.
STAAR® test questions copyright © by the Texas Education Agency. All rights reserved.
Printed in Texas.
ISBN: 978-1-943008-62-9
Possession of this publication in print format does not entitle users to convert this publication, or any portion of it, into electronic format.
Thank you for respecting the copyright and supporting the effort involved in creating this product.
Sampler
iii Table of Contents
Table of ContentsWelcome Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vAbout the STAAR English I EOC Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viHow to Use This Book for STAAR Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viiSTAAR Multiple-Choice Test-Taking Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ixStudent Progress Monitoring Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Section 1: Literary TextsIntroduction to Literary Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
FICTIONDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Reading Skills1 Making Inferences in Fiction (E1.5 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Using a Dictionary Entry (E1.1E) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Using Context Clues to Determine Meaning (E1.1B) . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Analyzing Character Development (E1.5B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Analyzing Point of View (E1.5C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Understanding Historical or Cultural Setting (E1.2C) . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Reading PracticeFiction 1 The Open Boat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Fiction 2 Summer of the Mariposas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
DRAMADiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Reading Skills1 Analyzing Drama (E1.4A, E1.4 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Determining Theme (E1.2 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Reading PracticeDrama 1 A Doll’s House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
LITERARY NONFICTIONDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Reading Skill 1 Analyzing Literary Nonfiction (E1.6A, E1.6 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Reading PracticeLiterary Nonfiction 1 The Great Depression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
POETRYDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Reading Skills1 Analyzing Poetic Language (E1.3A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732 Interpreting Poetry (E1.3 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Included in Sampler
Sampler
iv English I EOC Reading
Reading PracticePoetry 1 Driving Through West Texas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Section 2: Informational Texts Introduction to Informational Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
EXPOSITORYDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Reading Skills1 Understanding the Controlling Idea and Author’s Purpose (E1.8A) . . . . . . . . . . . . . . 902 Analyzing Opinions (E1.9B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 923 Making Inferences in Expository Texts (E1.9C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944 Evaluating Summaries (E1.9A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965 Analyzing Procedural and Graphic Elements (E1.11A, E1.12A) . . . . . . . . . . . . . . . . . . . 98
Reading PracticeExpository 1 Babe Didrikson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Expository 2 Sallie Tate’s Emancipation Dress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
PERSUASIVEDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Reading Skill1 Analyzing Persuasive Texts (E1.10A, E1.10 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Reading PracticePersuasive 1 Remarks at the Signing of the Highway Beautification Act of 1965 . . . . 123Persuasive 2 Volunteering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Section 3: Paired TextsIntroduction to Paired Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
PAIRED TEXTSDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Reading Skill1 Making Inferences Across Texts (E1 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Reading PracticePaired Texts 1 United Skies over Terrell / Here Come the Yanks! . . . . . . . . . . . . . . . . . 147Paired Texts 2 City of the Dead / Storm and Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . 158Paired Texts 3 The Drought / Between Hell and Texas . . . . . . . . . . . . . . . . . . . . . . . . . 167
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
Student Answer Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Sampler
v Welcome Letter
Dear Students,
The STAAR English I assessment measures your knowledge of the English I standards (TEKS). STAAR tests are not designed to measure many important qualities of character and intelligence — as this cartoon shows.
Dys
lexi
cKid
s.ne
t
Qualities Not Measured by STAAR Tests
Big-Picture ThinkingComp�ionReliabilityMotivationHumorEmpathy
Sense of Beauty
Humility
Sense of Wonder
PersistenceCuriosityEnthusiasm
COURAGE
LeadershipCreativityCivic-Minded
Resourcefulness
PositivityResilience
What are some other important qualities of character and intelligence missing in STAAR tests?
But performing well on the STAAR tests is important, so you want to do all you can to succeed on them. That’s where this workbook comes in! It was designed to help you prepare for the Reading part of the STAAR English I test by
• teaching the skills to approach and answer different STAAR test questions, and by• providing practice questions that are similar to those you will answer on the actual test.
But as good as this workbook is, it only helps if you use it. So, please use this workbook!
Practicing Smart Is the Secret to STAAR Success There is a secret to success on the STAAR tests — practice, practice, and more practice. This is good news because you are in control of how much effort you put into practicing. But not all practice is the same… you need to practice smart.
First, practice with test questions that are very similar to the actual STAAR test. That’s easy because this workbook is full of them! Next, focus on your weaknesses —spend extra time on questions you have trouble with. Think of it like this: if your basketball shot needs improvement, you don’t practice dribbling. Instead, you practice shooting.
Focusing on your weaknesses also means carefully analyzing each test question you get wrong. Why did you get it wrong? Why is another answer correct? You can learn more from test questions you get wrong, so don’t be afraid of making mistakes. If your basketball shot is off, you identify what you are doing wrong (too far left) and correct it with your next shot (aim further right).
When you practice, give each question your full attention. Do not take a break until after you answer the question. Your attention is like a muscle that you can build by using it, one practice test question at a time. Do you believe unfocused, sloppy practice of your basketball shot will help you perform during a big game? No! Your attention is your greatest power. You develop it with practice.
Preparing for the STAAR test can actually be a fun challenge. And when you practice smart, you are building life skills while you prepare for the STAAR test!
Your partners in STAAR success,
The Sirius Education Team
Sampler
vii How to Use This Book for STAAR Success
How to Use This Book for STAAR Success3-Step Approach to Differentiate InstructionThis interactive workbook is easily adapted for different needs and includes an optional 3-step approach to efficiently prioritize and individualize remediation when preparation time is limited.
Step 1 Identify Your Needs — Diagnostic Tests for Each GenreUse the Diagnostic Tests for each genre to identify what you know and what you need to review. Record your results in the Progress Monitoring Chart.
4 English I EOC Reading ■ Literary Texts
2 Why does Uncle Zeno call the boy “Doc” in paragraph 6? (E1.2C)
F “Doc” is an affectionate nickname.
G The boy wants to be a doctor.
H The uncle is teasing the boy for playing ball poorly.
J The uncle is frustrated with the boy.
3 Which sentence provides the strongest evidence that Jim’s uncles are kind and caring? (E1.5B)
A He blames himself for the boy’s lack of success.
B They do not creep closer because it would make the boy feel bad.
C All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys.
D Each uncle would still gladly play a game of baseball, should anyone ask, though no one has asked for several years.
GO ON
Fiction Diagnostic
Read the selection and answer the questions that follow.
from Jim the Boyby Tony Earley
xi Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS.
1 Diagnostic Mark a ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark a ✓ in the box beside each question that you answered correctly. Find the total correct. Refer
back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as in the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Using Context Clues to Determine Meaning (p. 10) E1.1B
2 Understanding Historical and Cultural Settings (p. 17) E1.2C
3 Analyzing Character Development (p. 12) E1.5B
4 Understanding Historical and Cultural Settings (p. 17) E1.5C
5 Analyzing Character Development (p. 12) E1.5B
6 Making Inferences in Fiction (p. 6) E1.5 Fig. 19B
Total / 6 Total / 6
DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Drama (p. 38) E1.4A
2 Analyzing Drama (p. 38) E1.4A
3 Analyzing Drama (p. 38) E1.4A
4 Analyzing Drama (p. 38) E1.4A
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Drama (p. 38) E1.4 Fig. 19B
Total / 6 Total / 6
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Literary Nonfiction (p. 59) E1.6A
2 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
3 Analyzing Literary Nonfiction (p. 59) E1.6A
4 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
Total / 6 Total / 6
STEP 2 Focus Remediation — Skill Lessons and Genre PracticeUse your Diagnostic results to focus skills instruction and practice to meet your unique needs.
12 English I EOC Reading ■ Literary Texts
Reading Skill 4Analyzing Character
DevelopmentWriters create complex and believable characters in different ways.
Describe the character’s personality Sasha was obsessed with world events.
Describe the character’s appearance His shirt was rumpled and unevenly buttoned.
Use the character’s own words “I dress while watching the morning news,” he explained.
Tell the character’s inner thoughts and feelings He worried that a daily news item might escape his notice.
Show the character’s actions He listened to a podcast about North Korean famine, striding past the hungry beggar.
Show other characters’ reactions to the character
His daughter found it difficult to compete with the car radio during the ride home.
By combining details about a character with your own knowledge, you can make inferences about that character. When you answer a test question asking about a character, you’ll want to look for these details in the selection.
STAAR StrategyRead the question from a previous STAAR test below. The related passage follows the question. Then read the steps for answering a question like this.
1 Read each answer choice. Then read the relevant part of the selection. Underline and label details relating to each answer choice.
(E1.5B)
From the paragraph, the reader can infer that the three uncles —
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally STAAR English I, 2014, #28
All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys. Uncle Al’s mitt was made for a right-handed fielder, but he has worn it on the wrong hand for so long that he no longer notices that it doesn’t fit. Each uncle would still gladly play a game of baseball, should anyone ask, although no one has asked for years. They keep their tiny, relic gloves properly oiled, however, as if such invitations were not only commonplace, but imminent.
13 Reading Skill ■ Fiction
2 Evaluate the evidence you underlined. Cross out answer choices not supported by evidence.
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally
Guided Practice Read the paragraph and question. Follow the steps for analyzing a character. Remember: underline details that support specific answer choices, and cross out answer choices not fully supported by evidence.
Think About Your Thinking
In the chart below, note how you evaluated each answer choice.
Answer Choices
Textual EvidenceIs inference supported?
A Reference to when “the army loses,” doesn’t apply to the captain specifically. no
B
C
D
Independent PracticePractice analyzing character in Fiction Practice 1 and 2, and Paired Practice 2 and 3.
The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.
From the paragraph, the reader can infer that the captain —
A has previously fought in a war C is not respected by his crew
B has lost his mind D is depressed over the loss of his ship
A
There is no mention that the uncles played professionally.
No evidence explains how they feel about winning.
No evidence supports this idea.
Yes! They lovingly maintain their gloves, which are symbols of their youth.
23 Reading Practice ■ Fiction
1 Read the following from paragraph 1. (E1.5 Fig. 19B)
These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.
The reader can infer from this line that the characters —
A are happy to be on the open water
B have strong visual memories
C have all been to sea before
D are experienced fishermen
2 In paragraph 3, the word invariably means — (E1.1B)
F constantly
G worriedly
H nervously
J resentfully
3 From paragraph 6, the reader can infer that the captain — (E1.5B)
A had previously fought in a war
B has lost his mind
C is not respected by his crew
D is depressed over the loss of his ship
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
STEP 3 Monitor Your Progress — Post TestsUse each genre Post Test to monitor progress and to identify additional lessons for review. The Post Test questions cover the same TEKS in the same order as the Diagnostic Test.
Each item correlates to a TEKS and Skill lesson.
Diagnostic Tests cover 7 genres
Practice with support for Active Reading
Guided Practice
19 Skills Lessons
Models strategy with released STAAR items
Critical thinking
TEKS
Independent Practice
Fiction Post Test
Read the selection and choose the best answer to each question.
From Call of the Wild
xi Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS.
1 Diagnostic Mark a ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark a ✓ in the box beside each question that you answered correctly. Find the total correct. Refer
back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as in the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Using Context Clues to Determine Meaning (p. 10) E1.1B
2 Understanding Historical and Cultural Settings (p. 17) E1.2C
3 Analyzing Character Development (p. 12) E1.5B
4 Understanding Historical and Cultural Settings (p. 17) E1.5C
5 Analyzing Character Development (p. 12) E1.5B
6 Making Inferences in Fiction (p. 6) E1.5 Fig. 19B
Total / 6 Total / 6
DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Drama (p. 38) E1.4A
2 Analyzing Drama (p. 38) E1.4A
3 Analyzing Drama (p. 38) E1.4A
4 Analyzing Drama (p. 38) E1.4A
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Drama (p. 38) E1.4 Fig. 19B
Total / 6 Total / 6
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Literary Nonfiction (p. 59) E1.6A
2 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
3 Analyzing Literary Nonfiction (p. 59) E1.6A
4 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
Total / 6 Total / 6
✓✓
✓
✓✓
4
Focus on skills you need most.
Monitor your progress
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Sampler
viii English I EOC Reading
How to Use This Book for STAAR SuccessFocused Remediation is provided by 18 reading skill lessons and 15 reading passages with STAAR practice items .
Reading Skill LessonsEach lesson provides concise and student-friendly instruction in answering a released STAAR test item. Each TEKS-based skill models a STAAR Strategy that students apply in Guided Practice.
90 English I EOC Reading ■ Informational Texts
Understanding the Controlling Idea and Author’s PurposeThe controlling idea—also called a thesis or main idea—is the central idea of an informative text. The controlling idea also reflects the author’s purpose—the author’s reason for writing the text. Each paragraph supports the controlling idea and purpose.
The STAAR test asks about the controlling idea and author’s purpose in different ways. You may be asked to identify specific evidence that supports a paragraph’s topic. Or you might be asked about the purpose of a specific paragraph.
STAAR StrategyRead the question below. The selection that follows it is about Dick Fosbury, who developed a high jump called the Fosbury Flop. Then read the steps for answering a question like this.
1 Determine what the question is asking. Analyze the stem and answer choices.
2 Figure out a strategy for finding the information you need. You can figure out the topic by deciding what most of the evidence in the paragraph is about.
3 Mark up the passage and question. Underline evidence and cross out incorrect choices.
A show Fosbury’s determination and eventual success
B explain the mechanics of the Fosbury Flop
C demonstrate Fosbury’s reluctance to follow the advice of others
D emphasize Fosbury’s desire to get a college education
(E1.8A)
The author includes the information in this paragraph to —
A show Fosbury’s determination and eventual success
B explain the mechanics of the Fosbury Flop
C demonstrate Fosbury’s reluctance to follow the advice of others
D emphasize Fosbury’s desire to get a college education STAAR English I, 2013, #17
At Oregon State University, where [Fosbury’s] jumping skill earned him a full scholarship, Coach Berny Wagner discouraged him from using the flop and urged him to use the traditional form. After a year without success he returned to his own move and broke the school record with a six-foot-ten-inch jump. Fosbury developed the jump so well that he won back-to-back National Collegiate Athletic Association (NCAA) championships during his college career. At the 1968 Olympic trials he was almost eliminated but then cleared a personal record height of seven feet, two inches.
—from Scribner Encyclopedia of American Lives: Sports Figures
D
A
This is a body paragraph. The answer choices are topics. I need to choose the right topic.
Going back to his move, improving it, and making the Olympic trials are evidence that supports this answer.
Fosbury followed his coach’s advice for a year, so the idea that he was reluctant is not supported.
College is mentioned, but not Fosbury’s feelings about education.
91 Reading Skill ■ Expository
Guided PracticeRead the following passage about Dick Fosbury. Then read and answer the question that follows. Use the steps on the previous page to analyze the question and the answer choices. One part, analyzing the stem, has been done for you.
According to the selection, why was it not surprising that younger athletes were the first to use the Fosbury Flop?
F Younger athletes were less afraid to use the “scissors” approach.G Older athletes were already committed to the established style
of high jumping.H Successful high jumpers were convinced the Fosbury Flop
wouldn’t result in higher jumps.J It is human nature to resist change.
Think About Your Thinking
In the chart below, evaluate each answer choice based on evidence you identified in the paragraph. One evaluation has been done for you.
Answer Choices
Textual EvidenceIs answer
supported?
F Younger athletes mentioned, but not in this way. no
G
H
J
Independent PracticeYou will have the opportunity to practice this skill in Expository Practice 1 and 2, Persuasive Practice 1, and Paired Practice 1.
Fosbury said, “The problem with something revolutionary is that most of the elite athletes had invested so much time in their technique and movements that they didn’t want to give it up, so they stuck with what they knew.” It would be ten years before the majority of jumpers used Fosbury’s technique. The first athletes to pick it up were, not surprisingly, the youngest ones.
These words tell me I’m looking for something in the text.
After re-reading the paragraph, I see that this is its topic. The correct answer will support the topic.
Reading Genre PracticeThis workbook provides authentic STAAR practice in the 7 tested genres, using grade-appropriate selections and test questions that mimic released STAAR tests.
20 English I EOC Reading ■ Literary Texts
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
5 The correspondent2, pulling at the other oar, watched the waves and wondered why he was there.
6 The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain
1someone who oils the machinery of a ship2a reporter
23 Reading Practice ■ Fiction
1 Read the following from paragraph 1. (E1.5 Fig. 19B)
These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.
The reader can infer from this line that the characters —
A are happy to be on the open water
B have strong visual memories
C have all been to sea before
D are experienced fishermen
2 In paragraph 3, the word invariably means — (E1.1B)
F constantly
G worriedly
H nervously
J resentfully
3 From paragraph 6, the reader can infer that the captain — (E1.5B)
A had previously fought in a war
B has lost his mind
C is not respected by his crew
D is depressed over the loss of his ship
29 passages in 7 genres
Margin features promote active reading.
Over 100 questions match the released STAAR tests in content and format.
TEKS
Uses a 3-step model for• understanding
questions• searching for text clues
or support• evaluating answer
choices
Key terms
Analyzes released STAAR questions
TEKS
Independent Practice
Guided Practice helps students apply the strategy.
Show your thinking by analyzing each answer choice.
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xi Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS .
1 Diagnostic Mark a ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark a ✓ in the box beside each question that you answered correctly. Find the total correct. Refer
back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as in the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Using Context Clues to Determine Meaning (p. 10) E1 .1B
2 Understanding Historical and Cultural Settings (p. 17) E1.2C
3 Analyzing Character Development (p. 12) E1 .5B
4 Understanding Historical and Cultural Settings (p. 17) E1.5C
5 Analyzing Character Development (p. 12) E1 .5B
6 Making Inferences in Fiction (p. 6) E1 .5 Fig . 19B
Total / 6 Total / 6
DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Drama (p. 38) E1.4A
2 Analyzing Drama (p. 38) E1.4A
3 Analyzing Drama (p. 38) E1.4A
4 Analyzing Drama (p. 38) E1.4A
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Drama (p. 38) E1.4 Fig. 19B
Total / 6 Total / 6
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Literary Nonfiction (p. 59) E1.6A
2 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
3 Analyzing Literary Nonfiction (p. 59) E1.6A
4 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
Total / 6 Total / 6
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POETRYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Interpreting Poetry (p. 76) E1.3 Fig. 19B
2 Analyzing Poetic Language (p. 73) E1.3A
3 Interpreting Poetry (p. 76) E1.3 Fig. 19B
4 Analyzing Poetic Language (p. 73) E1.3A
5 Interpreting Poetry (p. 76) E1.3 Fig. 19B
6 Interpreting Poetry (p. 76) E1.3 Fig. 19B
Total / 6 Total / 6
EXPOSITORYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Opinions (p. 92) E1.9B
2 Understanding the Controlling Idea and Author’s Purpose (p. 90)
E1 .8A
3 Making Inferences in Expository Texts (p. 94) E1 .9C
4 Making Inferences in Expository Texts (p. 94) E1 .9C
5 Analyzing Procedural and Graphic Elements (p. 98) E1.12 Fig. 19B
6 Evaluating Summaries (p. 96) E1 .9A
Total / 6 Total / 6
PERSUASIVEQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Persuasive Texts (p. 120) E1.10 Fig. 19B
2 Analyzing Persuasive Texts (p. 120) E1.10 Fig. 19B
3 Analyzing Persuasive Texts (p. 120) E1.10A
4 Understanding the Controlling Idea and Author’s Purpose (p. 90)
E1.8A
5 Analyzing Persuasive Texts (p. 120) E1.10A
6 Analyzing Persuasive Texts (p. 120) E1.10 Fig. 19B
Total / 6 Total / 6
PAIRED TEXTSQuestion 1 2 Review: Skill Lesson 3 TEKS
1 Making Inferences Across Texts (p. 144) E1 Fig . 19B
2 Making Inferences Across Texts (p. 144) E1 Fig . 19B
3 Making Inferences Across Texts (p. 144) E1 Fig . 19B
4 Making Inferences Across Texts (p. 144) E1 Fig . 19B
5 Making Inferences Across Texts (p. 144) E1 Fig . 19B
6 Making Inferences Across Texts (p. 144) E1 Fig . 19B
Total / 6 Total / 6
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12 English I EOC Reading ■ Literary Texts
Reading Skill 4Analyzing Character
DevelopmentWriters create complex and believable characters in different ways.
Describe the character’s personality Sasha was obsessed with world events.
Describe the character’s appearance His shirt was rumpled and unevenly buttoned.
Use the character’s own words “I dress while watching the morning news,” he explained.
Tell the character’s inner thoughts and feelings He worried that a daily news item might escape his notice.
Show the character’s actions He listened to a podcast about North Korean famine, striding past the hungry beggar.
Show other characters’ reactions to the character
His daughter found it difficult to compete with the car radio during the ride home.
By combining details about a character with your own knowledge, you can make inferences about that character. When you answer a test question asking about a character, you’ll want to look for these details in the selection.
STAAR StrategyRead the question from a previous STAAR test below. The related passage follows the question. Then read the steps for answering a question like this.
1 Read each answer choice. Then read the relevant part of the selection. Underline and label details relating to each answer choice.
(E1.5B)
From the paragraph, the reader can infer that the three uncles —
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally STAAR English I, 2014, #28
All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys. Uncle Al’s mitt was made for a right-handed fielder, but he has worn it on the wrong hand for so long that he no longer notices that it doesn’t fit. Each uncle would still gladly play a game of baseball, should anyone ask, although no one has asked for years. They keep their tiny, relic gloves properly oiled, however, as if such invitations were not only commonplace, but imminent.
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13 Reading Skill ■ Fiction
2 Evaluate the evidence you underlined. Cross out answer choices not supported by evidence.
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally
Guided Practice Read the paragraph and question. Follow the steps for analyzing a character. Remember: underline details that support specific answer choices, and cross out answer choices not fully supported by evidence.
Think About Your Thinking
In the chart below, note how you evaluated each answer choice.
Answer Choices
Textual EvidenceIs inference supported?
A Reference to when “the army loses,” doesn’t apply to the captain specifically. no
B
C
D
Independent PracticePractice analyzing character in Fiction Practice 1 and 2, and Paired Practice 2 and 3.
The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.
From the paragraph, the reader can infer that the captain —
A has previously fought in a war C is not respected by his crew
B has lost his mind D is depressed over the loss of his ship
A
There is no mention that the uncles played professionally.
No evidence explains how they feel about winning.
No evidence supports this idea.
Yes! They lovingly maintain their gloves, which are symbols of their youth.
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17 Reading Skill ■ Fiction
Reading Skill 6Understanding Historical
or Cultural SettingWorks written or set in an earlier time period or a distant place sometimes contain unfamiliar words, phrases, or figures of speech. Some of these cultural expressions, or idioms, may have a meaning different from the literal meaning of the words. These idioms often express the historical or cultural attitudes of the characters in the story. Context clues and other textual evidence can help you decode the meaning.
STAAR StrategyRead the drama excerpt and question below. Then read the steps for answering a question like this. In the excerpt, a girl named Anne is waiting at a train station. As she waits, she talks with the stationmaster, the person who manages the station.
1 Make sure you understand what you are being asked. It may help to turn the stem into a question. Then circle key words in the question.
What does the stationmaster’s figurative language in paragraph 1 1 indicate about Anne?
(E1.2C)
8 ANNE: . . . . I don’t ever expect to be a bride myself. I’m too homely. But I hope that someday I shall have a white dress. That is my highest ideal of earthly bliss.
[An older man, very tentative and shy, enters. He stands diffidently off to the side, looking around for something at first, and then focuses in on Anne and hears her last few lines.]
9 STATIONMASTER: [Sees the man and goes to him.] About time you got here, Matthew.
10 MATTHEW: Will the 5:30 train be long?
11 STATIONMASTER: Been in and gone half an hour. [Indicating Anne.] There she is. [Confidently.] She’s a case. Got a tongue runs longer than a freight train to Ottawa.
In paragraph 11, the stationmaster uses figurative language to indicate that Anne —
A has traveled a long way
B talks too much
C has a wild imagination
D cannot be fully trusted STAAR English I, 2012, #2
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18 English I EOC Reading ■ Literary Texts
2 Try answering the question in your head.
The stationmaster says something strange: “Got a tongue runs longer than a freight train to Ottawa.” I’m not sure what that means—it must be a figure of speech. Maybe she talks a lot or tries to trick people?
3 Confirm your answer among the answer choices. If your answer doesn’t match up, look for evidence in the text to support one of the responses given.
Both B and D seem like my answers. Reading paragraph 8, I don’t get the feeling that Anne is untrustworthy. It just seems as if she talks on and on. For instance, why is she talking to the stationmaster about being a bride? I think choice B is correct.
Guided Practice Read the selection and then respond to the question. Follow the STAAR strategy on the previous page.
“Okay, Doc,” Uncle Zeno says. “Keep your eye on the ball. Here it comes.”
The baseball in Uncle Zeno’s hand is almost invisible, a piece of smoke, a shadow. The woods on the far side of the pasture are already dark as sleep; the river twists through them by memory. Uncle Zeno tosses the ball gently toward the boy, who does not see it until its arc carries it above the black line of trees, where it hangs for a moment like an eclipse in the faintly glowing sky. The boy is arm-weary; he swings as hard as he is able. The bat and ball collide weakly. The ball drops to the ground at the boy’s feet. It lies there stunned, quivering, containing flight beneath its smooth skin. The boy switches the bat into his left hand, picks up the ball with his right, and throws it back to Uncle Zeno.
“I hit it just about every time,” the boy says.
“Batter, batter, batter, batter,” Uncle Al chirps in the field.
“Say, whatta-say, whatta-say, whatta-say,” chants Uncle Coran in the ancient singsong of ballplayers. The uncles are singing to the boy. He has never heard anything so beautiful. He does not want it to stop.
“Okay, Doc,” says Uncle Zeno. “One more. Now watch.”
Which of the following is an example of an expression related to the game of baseball?
F “Here it comes.”
G “I hit it just about every time”
H “Say, whatta-say, whatta-say, whatta-say”
J “One more. Now watch.”
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19 Reading Skill ■ Fiction
Think About Your Thinking
In the chart below, note how you used the evidence in the paragraph to help you choose the answer. One line has been completed for you.
Answer Choices
Textual EvidenceIs answer
supported?
F “Here it comes” means what it says—here comes the ball. But this expression could apply to anything, not just baseball. no
G
H
J
Independent Practice You will have the opportunity to practice understanding a work’s cultural and historical setting in Fiction Practice 2.
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20 English I EOC Reading ■ Literary Texts
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
5 The correspondent2, pulling at the other oar, watched the waves and wondered why he was there.
6 The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain
1someone who oils the machinery of a ship2a reporter
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21 Reading Practice ■ Fiction
FIGURATIVE LANGUAGE
What is the boat compared to in paragraph 9? How does this metaphor help to develop the story’s setting?
had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.
7 “Keep ‘er a little more south, Billie,” said he.
8 “’A little more south,’ sir,” said the oiler in the stern.
9 A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high. The manner of her scramble over these walls of water is a mystic thing, and, moreover, at the top of them were ordinarily these problems in white water, the foam racing down from the summit of each wave, requiring a new leap, and a leap from the air. Then, after scornfully bumping a crest, she would slide, and race, and splash down a long incline, and arrive bobbing and nodding in front of the next menace.
10 A singular disadvantage of the sea lies in the fact that after successfully surmounting one wave you discover that there is another behind it just as important and just as nervously anxious to do something effective in the way of swamping boats. In a ten-foot dinger one can get an idea of the resources of the sea in the line of waves that is not probable to the average experience that is never at sea in a dinghy. As each salty wall of water approached, it shut all else from the view of the men in the boat, and it was not difficult to imagine that this particular wave was the final outburst of the ocean, the last effort of the grim water. There was a terrible grace in the move of the waves, and they came in silence, save for the snarling of the crests.
...
11 In disjointed sentences the cook and the correspondent argued as to the difference between a life-saving station and a house of refuge. The cook had said: “There’s a house of refuge just north of the Mosquito Inlet Light, and as soon as they see us, they’ll come off in their boat and pick us up.”
12 “As soon as who see us?” said the correspondent.
13 “The crew,” said the cook.
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22 English I EOC Reading ■ Literary Texts
14 “Houses of refuge don’t have crews,” said the correspondent. “As I understand them, they are only places where clothes and grub are stored for the benefit of shipwrecked people. They don’t carry crews.”
15 “Oh, yes, they do,” said the cook.
16 “No, they don’t,” said the correspondent.
17 “Well, we’re not there yet, anyhow,” said the oiler, in the stern.
18 “Well,” said the cook, “perhaps it’s not a house of refuge that I’m thinking of as being near Mosquito Inlet Light. Perhaps it’s a life-saving station.”
19 “We’re not there yet,” said the oiler, in the stern.
Courtesy of the artist, Robert Quackenbush.
CHARACTER
What remark does the oiler make in paragraphs 17 and 19? Why do you think he repeats himself?
ANALYZE IMAGES
What does the image reveal about the story’s setting? Write down some things you learn about the story or characters from looking at the woodcut drawing.
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23 Reading Practice ■ Fiction
1 Read the following from paragraph 1. (E1.5 Fig. 19B)
These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.
The reader can infer from this line that the characters —
A are happy to be on the open water
B have strong visual memories
C have all been to sea before
D are experienced fishermen
2 In paragraph 3, the word invariably means — (E1.1B)
F constantly
G worriedly
H nervously
J resentfully
3 From paragraph 6, the reader can infer that the captain — (E1.5B)
A had previously fought in a war
B has lost his mind
C is not respected by his crew
D is depressed over the loss of his ship
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24 English I EOC Reading ■ Literary Texts
4 Read the following from paragraph 9. (E1.7 Fig. 19B)
A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.
The author uses figurative language in this paragraph to show —
F the characters are like cowboys
G the setting is dangerous
H the sailors’ adventure is exciting
J the boat has a mind of its own
5 In paragraphs 11 through 19, what role does the oiler play in the development of the story? (E1.5B)
A He shares his knowledge about houses of refuge.
B He offers a pessimistic outlook.
C He acts as a realist and is concerned with the present.
D He tries to settle the argument between the others on the boat.
6 Which detail is emphasized more in the woodcut than it is in the story? (E1.12A)
F The captain’s mood
G The size of the boat
H The conditions at sea
J The relationship between the sailors
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24 English I EOC Reading ■ Literary Texts
4 Read the following from paragraph 9. (E1.7 Fig. 19B)
A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.
The author uses figurative language in this paragraph to show —
F the characters are like cowboys
G the setting is dangerous
H the sailors’ adventure is exciting
J the boat has a mind of its own
5 In paragraphs 11 through 19, what role does the oiler play in the development of the story? (E1.5B)
A He shares his knowledge about houses of refuge.
B He offers a pessimistic outlook.
C He acts as a realist and is concerned with the present.
D He tries to settle the argument between the others on the boat.
6 Which detail is emphasized more in the woodcut than it is in the story? (E1.12A)
F The captain’s mood
G The size of the boat
H The conditions at sea
J The relationship between the sailors
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Sirius Education SolutionsAnswer Choice Explanations
4 F The author uses rodeo imagery not to suggest that the setting is similar to a rodeo, but to illustrate that the setting is wild and dangerous.
G Correct. The image of the boat bucking like a bronco, prancing and rearing, and rising for each wave “like a horse making at a fence outrageously high” illustrates the dangerous position the boat’s occupants are in.
H The figurative language is used to make the setting seem wild to the point of being dangerous, not exciting.
J The author uses animal imagery to illustrate how wild and dangerous the setting is, not to suggest that it is literally like an animal.
5 A The correspondent shares his knowledge about houses of refuge, not the oiler.
B “We’re not there yet” is a statement of fact; it is neither inherently pessimistic nor optimistic. It is a reminder of the reality of the situation.
C Correct. The oiler tells his fellow crewmembers twice, “We’re not there yet,” pointing out the futility of arguing about the house of refuge before they know if they’ll even make it there.
D The oiler does not get involved in the argument or try to stop it; he merely points out the reality of the situation.
6 F It is difficult to determine anything about the captain’s mood from the woodcut, but it is discussed in great detail in the story (paragraph 6).
G Correct. It is immediately clear from looking at the woodcut that the boat is tiny compared to the waves, but the physical description of the boat is more of a minor point in the story.
H The conditions at sea are emphasized greatly both in the woodcut (the large waves) and the story (paragraph 9).
J It is difficult to determine anything about the relationship between the sailors from the woodcut, but it is discussed in paragraphs 11 through 19 of the story.
24
Using This Teacher’s Edition
Active Reading in Genre Practice Each practice reading selection features activities that help students apply the reading skills taught in this workbook.
1 As You Read ActivityEach practice reading selection begins with an activity that helps students read with a purpose for that specific genre and selection. These activities help students
• practice annotating and making notes • understand the selection as a whole • focus on relevant TEKS content
2 Interactive Margin ActivitiesActivities in the margin are tied to specific practice questions that follow the selection. These activities help students
• find the information needed to answer questions• practice TEKS standards in free response activities • explain their thinking
Answer choice explanations are provided for EACH answer choice in all STAAR practice items.
A student who correctly answers a margin activity but misses the related practice item may have made a careless error despite possessing sufficient command of the skill. The converse may also be true, and both can provide important information to teachers.
20 English I EOC Reading ■ Literary Texts
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
5 The correspondent2, pulling at the other oar, watched the waves and wondered why he was there.
6 The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain
1someone who oils the machinery of a ship2a reporter
In a way that is not variable; constantly
P
C
C
C
3 Answer Choice Explanations
These explanations help teachers identify student mistakes and facilitate remediation.
Use these activities with small groups, partners, or individuals.
Activities use scaffolding to help students explain their thinking.
Red boxes show correct answers.
1
2
3
Teacher’s Edition Sampler
12E
ng
lish
I E
OC
Re
ad
ing
■ L
iter
ary
Text
s
Rea
ding
Sk
ill 4
Analy
zin
g C
hara
cter
Develo
pm
ent
Wri
ters
cre
ate
com
ple
x an
d b
elie
vab
le c
har
acte
rs in
dif
fere
nt
way
s.
Des
crib
e th
e ch
arac
ter’
s p
erso
nal
ity
Sash
a w
as o
bse
ssed
wit
h w
orl
d e
ven
ts.
Des
crib
e th
e ch
arac
ter’
s ap
pea
ran
ceH
is s
hir
t w
as r
um
ple
d a
nd
un
even
ly b
utt
on
ed.
Use
th
e ch
arac
ter’
s o
wn
wo
rds
“I d
ress
wh
ile w
atch
ing
th
e m
orn
ing
new
s,”
he
exp
lain
ed.
Tell
the
char
acte
r’s
inn
er t
ho
ug
hts
an
d f
eelin
gs
He
wo
rrie
d t
hat
a d
aily
new
s it
em m
igh
t es
cap
e h
is n
oti
ce.
Sho
w t
he
char
acte
r’s
acti
on
sH
e lis
ten
ed t
o a
po
dca
st a
bo
ut
No
rth
Ko
rean
fa
min
e, s
trid
ing
pas
t th
e h
un
gry
beg
gar
.
Sho
w o
ther
ch
arac
ters
’ rea
ctio
ns
to t
he
ch
arac
ter
His
dau
gh
ter
fou
nd
it d
iffi
cult
to
co
mp
ete
wit
h
the
car
rad
io d
uri
ng
th
e ri
de
ho
me.
By
com
bin
ing
det
ails
ab
ou
t a
char
acte
r w
ith
yo
ur
ow
n k
no
wle
dg
e, y
ou
can
mak
e in
fere
nce
s ab
ou
t th
at c
har
acte
r. W
hen
yo
u a
nsw
er a
tes
t q
ues
tio
n a
skin
g a
bo
ut
a ch
arac
ter,
yo
u’ll
wan
t to
loo
k fo
r th
ese
det
ails
in t
he
sele
ctio
n.
STA
AR
Str
ate
gy
Rea
d t
he
qu
esti
on
fro
m a
pre
vio
us
STA
AR
tes
t b
elo
w. T
he
rela
ted
pas
sag
e fo
llow
s th
e q
ues
tio
n. T
hen
rea
d t
he
step
s fo
r an
swer
ing
a q
ues
tio
n li
ke t
his
.
1 R
ead
eac
h a
nsw
er c
ho
ice.
Th
en r
ead
th
e re
leva
nt
par
t o
f th
e se
lect
ion
. Un
der
line
and
lab
el d
etai
ls r
elat
ing
to
eac
h a
nsw
er c
ho
ice.
(E1.
5B)
From
the
par
agra
ph,
the
read
er c
an in
fer
that
the
thr
ee u
ncle
s —
F th
ink
that
win
ning
is im
port
ant
G
pref
er b
aseb
all t
o al
l oth
er g
ames
H
mis
s th
e da
ys o
f th
eir
yout
h
J us
ed t
o pl
ay b
aseb
all p
rofe
ssio
nally
ST
AA
R E
ngl
ish
I, 2
014,
#28
All
thre
e of
the
unc
les
wea
r th
e sm
all,
pock
etle
ss,
old-
fash
ione
d ba
seba
ll gl
oves
the
y ha
ve h
ad s
ince
the
y w
ere
boys
. U
ncle
Al’s
mitt
was
mad
e fo
r a
righ
t-ha
nded
fie
lder
, bu
t he
has
wor
n it
on t
he w
rong
han
d fo
r so
long
tha
t he
no
long
er n
otic
es t
hat
it do
esn’
t fit
. Ea
ch u
ncle
wou
ld s
till g
ladl
y pl
ay a
gam
e of
bas
ebal
l, sh
ould
any
one
ask,
al
thou
gh n
o on
e ha
s as
ked
for
year
s. T
hey
keep
the
ir t
iny,
rel
ic g
love
s pr
oper
ly o
iled,
ho
wev
er,
as if
suc
h in
vita
tions
wer
e no
t on
ly c
omm
onpl
ace,
but
imm
inen
t.
H H
13
Re
ad
ing
Skil
l ■
Fict
ion
2 E
valu
ate
the
evid
ence
yo
u u
nd
erlin
ed. C
ross
ou
t an
swer
ch
oic
es n
ot
sup
po
rted
by
evid
ence
.
F th
ink
that
win
ning
is im
port
ant
G
pref
er b
aseb
all t
o al
l oth
er g
ames
H
mis
s th
e da
ys o
f th
eir
yout
h
J us
ed t
o pl
ay b
aseb
all p
rofe
ssio
nally
Gu
ided
Pra
ctic
e
Rea
d t
he
par
agra
ph
an
d q
ues
tio
n. F
ollo
w t
he
step
s fo
r an
alyz
ing
a c
har
acte
r.
Rem
emb
er: u
nd
erlin
e d
etai
ls t
hat
su
pp
ort
sp
ecifi
c an
swer
ch
oic
es, a
nd
cro
ss o
ut
answ
er c
ho
ices
no
t fu
lly s
up
po
rted
by
evid
ence
.
Thin
k A
bo
ut
You
r Th
inki
ng
In t
he
char
t b
elo
w, n
ote
ho
w y
ou
eva
luat
ed e
ach
an
swer
ch
oic
e.
An
swer
C
ho
ices
Text
ual
Evi
den
ceIs
infe
ren
ce
sup
po
rted
?
ARef
eren
ce to
whe
n “th
e ar
my
lose
s,” d
oesn
’t ap
ply to
the
capt
ain
spec
ifically.
no
B C D
Ind
ep
en
den
t Pra
ctic
ePr
acti
ce a
nal
yzin
g c
har
acte
r in
Fic
tio
n P
ract
ice
1 an
d 2
, an
d P
aire
d P
ract
ice
2 an
d 3
.
Th
e in
jure
d ca
ptai
n, ly
ing
in t
he b
ow,
was
at
this
tim
e bu
ried
in t
hat
prof
ound
de
ject
ion
and
indi
ffer
ence
whi
ch c
omes
, te
mpo
rari
ly a
t le
ast,
to
even
the
bra
vest
and
m
ost
endu
ring
whe
n, w
illy-
nilly
, th
e fir
m f
ails
, th
e ar
my
lose
s, t
he s
hip
goes
dow
n.
The
min
d of
the
mas
ter
of a
ves
sel i
s ro
oted
dee
p in
the
tim
bers
of he
r, t
houg
h he
co
mm
ande
d fo
r a
day
or a
dec
ade,
and
thi
s ca
ptai
n ha
d on
him
the
ste
rn im
pres
sion
of
a s
cene
in t
he g
reys
of da
wn
of s
even
tur
ned
face
s, a
nd la
ter
a st
ump
of a
top
-mas
t w
ith a
whi
te b
all o
n it
that
sla
shed
to
and
fro
at t
he w
aves
, w
ent
low
and
low
er,
and
dow
n. T
here
afte
r th
ere
was
som
ethi
ng s
tran
ge in
his
voi
ce.
Alth
ough
ste
ady,
it w
as
deep
with
mou
rnin
g, a
nd o
f a
qual
ity
beyo
nd o
ratio
n or
tea
rs.
Fr
om t
he p
arag
raph
, th
e re
ader
can
infe
r th
at t
he c
apta
in —
A
has
prev
ious
ly f
ough
t in
a w
ar
C
is n
ot r
espe
cted
by
his
crew
B
has
lost
his
min
d D
is
dep
ress
ed o
ver
the
loss
of hi
s sh
ip
A
Ther
e is
no m
entio
n th
at th
e un
cles
play
ed p
rofe
ssio
nally
.
No
evid
ence
exp
lain
s ho
w th
ey
feel
abo
ut w
inni
ng.
No
evid
ence
su
ppor
ts th
is id
ea.
Yes!
The
y lo
ving
ly m
aint
ain
thei
r glo
ves,
whi
ch a
re
sym
bols
of th
eir y
outh
.
The c
apta
in “s
ees”
the s
hip g
oing
down
, but
this
is a
real
mem
ory;
he’s
not i
nsan
e.no
No e
viden
ce su
ppor
ts th
is re
spon
se.
noHi
s voic
e is
“dee
p wi
th m
ourn
ing,”
haun
ted
by vi
sion
of h
is sh
ip g
oing
dow
n.ye
s
D DB {{
English I EOC Reading ■ Literary Texts © Sirius Education Solutions12–13
Teacher’s Edition Sampler
16E
ng
lish
I E
OC
Re
ad
ing
■ L
iter
ary
Text
s
Thin
k A
bo
ut
You
r Th
inki
ng
In t
he
char
t b
elo
w, n
ote
ho
w y
ou
eva
luat
ed e
ach
an
swer
ch
oic
e b
ased
on
th
e ev
iden
ce
in t
he
par
agra
ph
. On
e ev
alu
atio
n h
as b
een
co
mp
lete
d f
or
you
.
An
swer
C
ho
ices
Eval
uat
ion
Is a
nsw
er
sup
po
rted
?
FTh
e na
rrat
or is
tellin
g th
e st
ory
to M
arge
, so
the
read
er is
a
seco
ndha
nd w
itnes
s.no
G H J
Ind
ep
en
den
t Pra
ctic
e
You
will
hav
e th
e o
pp
ort
un
ity
to p
ract
ice
anal
yzin
g p
oin
t o
f vi
ew in
Fic
tio
n P
ract
ice
2.
The
read
er d
oes n
ot te
ll the
stor
y, so
this
is no
t the
corre
ct
answ
er.no
Yes,
we a
re lis
tenin
g to
, or o
bser
ving,
the
narra
tor a
s she
tells
th
e sto
ry to
Mar
ge, s
o we
bec
ome
third
-par
ty o
bser
vers.
yes
The
read
er d
oes n
ot p
artic
ipat
e in
the
story.
no
17
Re
ad
ing
Skil
l ■
Fict
ionRea
ding
Sk
ill 6
Unders
tandin
g H
isto
rica
l
or
Cult
ura
l Sett
ing
Wo
rks
wri
tten
or
set
in a
n e
arlie
r ti
me
per
iod
or
a d
ista
nt
pla
ce s
om
etim
es c
on
tain
u
nfa
mili
ar w
ord
s, p
hra
ses,
or
fig
ure
s o
f sp
eech
. So
me
of
thes
e cu
ltu
ral e
xpre
ssio
ns,
or
idio
ms,
may
hav
e a
mea
nin
g d
iffe
ren
t fr
om
th
e lit
eral
mea
nin
g o
f th
e w
ord
s. T
hes
e id
iom
s o
ften
exp
ress
th
e h
isto
rica
l or
cult
ura
l att
itu
des
of
the
char
acte
rs in
th
e st
ory
. C
on
text
clu
es a
nd
oth
er t
extu
al e
vid
ence
can
hel
p y
ou
dec
od
e th
e m
ean
ing
.
STA
AR
Str
ate
gy
Rea
d t
he
dra
ma
exce
rpt
and
qu
esti
on
bel
ow
. Th
en r
ead
th
e st
eps
for
answ
erin
g a
q
ues
tio
n li
ke t
his
. In
th
e ex
cerp
t, a
gir
l nam
ed A
nn
e is
wai
tin
g a
t a
trai
n s
tati
on
. As
she
wai
ts, s
he
talk
s w
ith
th
e st
atio
nm
aste
r, t
he
per
son
wh
o m
anag
es t
he
stat
ion
.
1 M
ake
sure
yo
u u
nd
erst
and
wh
at y
ou
are
bei
ng
ask
ed. I
t m
ay h
elp
to
tu
rn t
he
stem
in
to a
qu
esti
on
. Th
en c
ircl
e ke
y w
ord
s in
th
e q
ues
tio
n.
Wha
t do
es t
he s
tatio
nmas
ter’s
figu
rativ
e lang
uage
in p
arag
raph
1 1
indica
te a
bout
Ann
e?
(E1.
2C)
8 A
NN
E: .
. .
. I
don
’t e
ver
expe
ct t
o be
a b
ride
mys
elf.
I’m t
oo h
omel
y. B
ut I
hop
e th
at s
omed
ay I
sha
ll ha
ve a
whi
te d
ress
. Th
at is
my
high
est
idea
l of ea
rthl
y bl
iss.
[A
n ol
der
man
, ve
ry t
enta
tive
and
shy,
ent
ers.
He
stan
ds d
iffid
ently
off
to
the
side
, lo
okin
g ar
ound
for
som
ethi
ng a
t fir
st,
and
then
foc
uses
in o
n Ann
e an
d he
ars
her
last
few
line
s.]
9 S
TAT
ION
MA
STE
R:
[See
s th
e m
an a
nd g
oes
to h
im.]
Abo
ut t
ime
you
got
here
, M
atth
ew.
10
MA
TTH
EW
: W
ill t
he 5
:30
trai
n be
long
?
11
STA
TIO
NM
AS
TER
: Bee
n in
and
gon
e ha
lf an
hou
r. [
Indi
catin
g Ann
e.]
Ther
e sh
e is
. [C
onfid
ently
.] S
he’s
a c
ase.
Got
a t
ongu
e ru
ns lo
nger
tha
n a
frei
ght
trai
n to
O
ttaw
a.
In
par
agra
ph 1
1, t
he s
tatio
nmas
ter
uses
figu
rativ
e la
ngua
ge t
o in
dica
te t
hat
Ann
e —
A
has
trav
eled
a lo
ng w
ay
B
talk
s to
o m
uch
C
has
a w
ild im
agin
atio
n
D
cann
ot b
e fu
lly t
rust
ed
STA
AR
En
glis
h I,
201
2, #
2
English I EOC Reading ■ Literary Texts © Sirius Education Solutions16–17
16E
ng
lish
I E
OC
Re
ad
ing
■ L
iter
ary
Text
s
Thin
k A
bo
ut
You
r Th
inki
ng
In t
he
char
t b
elo
w, n
ote
ho
w y
ou
eva
luat
ed e
ach
an
swer
ch
oic
e b
ased
on
th
e ev
iden
ce
in t
he
par
agra
ph
. On
e ev
alu
atio
n h
as b
een
co
mp
lete
d f
or
you
.
An
swer
C
ho
ices
Eval
uat
ion
Is a
nsw
er
sup
po
rted
?
FTh
e na
rrat
or is
tellin
g th
e st
ory
to M
arge
, so
the
read
er is
a
seco
ndha
nd w
itnes
s.no
G H J
Ind
ep
en
den
t Pra
ctic
e
You
will
hav
e th
e o
pp
ort
un
ity
to p
ract
ice
anal
yzin
g p
oin
t o
f vi
ew in
Fic
tio
n P
ract
ice
2.
The
read
er d
oes n
ot te
ll the
stor
y, so
this
is no
t the
corre
ct
answ
er.no
Yes,
we a
re lis
tenin
g to
, or o
bser
ving,
the
narra
tor a
s she
tells
th
e sto
ry to
Mar
ge, s
o we
bec
ome
third
-par
ty o
bser
vers.
yes
The
read
er d
oes n
ot p
artic
ipat
e in
the
story.
no
17
Re
ad
ing
Skil
l ■
Fict
ionRea
ding
Sk
ill 6
Unders
tandin
g H
isto
rica
l
or
Cult
ura
l Sett
ing
Wo
rks
wri
tten
or
set
in a
n e
arlie
r ti
me
per
iod
or
a d
ista
nt
pla
ce s
om
etim
es c
on
tain
u
nfa
mili
ar w
ord
s, p
hra
ses,
or
fig
ure
s o
f sp
eech
. So
me
of
thes
e cu
ltu
ral e
xpre
ssio
ns,
or
idio
ms,
may
hav
e a
mea
nin
g d
iffe
ren
t fr
om
th
e lit
eral
mea
nin
g o
f th
e w
ord
s. T
hes
e id
iom
s o
ften
exp
ress
th
e h
isto
rica
l or
cult
ura
l att
itu
des
of
the
char
acte
rs in
th
e st
ory
. C
on
text
clu
es a
nd
oth
er t
extu
al e
vid
ence
can
hel
p y
ou
dec
od
e th
e m
ean
ing
.
STA
AR
Str
ate
gy
Rea
d t
he
dra
ma
exce
rpt
and
qu
esti
on
bel
ow
. Th
en r
ead
th
e st
eps
for
answ
erin
g a
q
ues
tio
n li
ke t
his
. In
th
e ex
cerp
t, a
gir
l nam
ed A
nn
e is
wai
tin
g a
t a
trai
n s
tati
on
. As
she
wai
ts, s
he
talk
s w
ith
th
e st
atio
nm
aste
r, t
he
per
son
wh
o m
anag
es t
he
stat
ion
.
1 M
ake
sure
yo
u u
nd
erst
and
wh
at y
ou
are
bei
ng
ask
ed. I
t m
ay h
elp
to
tu
rn t
he
stem
in
to a
qu
esti
on
. Th
en c
ircl
e ke
y w
ord
s in
th
e q
ues
tio
n.
Wha
t do
es t
he s
tatio
nmas
ter’s
figu
rativ
e lang
uage
in p
arag
raph
1 1
indica
te a
bout
Ann
e?
(E1.
2C)
8 A
NN
E: .
. .
. I
don
’t e
ver
expe
ct t
o be
a b
ride
mys
elf.
I’m t
oo h
omel
y. B
ut I
hop
e th
at s
omed
ay I
sha
ll ha
ve a
whi
te d
ress
. Th
at is
my
high
est
idea
l of ea
rthl
y bl
iss.
[A
n ol
der
man
, ve
ry t
enta
tive
and
shy,
ent
ers.
He
stan
ds d
iffid
ently
off
to
the
side
, lo
okin
g ar
ound
for
som
ethi
ng a
t fir
st,
and
then
foc
uses
in o
n Ann
e an
d he
ars
her
last
few
line
s.]
9 S
TAT
ION
MA
STE
R:
[See
s th
e m
an a
nd g
oes
to h
im.]
Abo
ut t
ime
you
got
here
, M
atth
ew.
10
MA
TTH
EW
: W
ill t
he 5
:30
trai
n be
long
?
11
STA
TIO
NM
AS
TER
: Bee
n in
and
gon
e ha
lf an
hou
r. [
Indi
catin
g Ann
e.]
Ther
e sh
e is
. [C
onfid
ently
.] S
he’s
a c
ase.
Got
a t
ongu
e ru
ns lo
nger
tha
n a
frei
ght
trai
n to
O
ttaw
a.
In
par
agra
ph 1
1, t
he s
tatio
nmas
ter
uses
figu
rativ
e la
ngua
ge t
o in
dica
te t
hat
Ann
e —
A
has
trav
eled
a lo
ng w
ay
B
talk
s to
o m
uch
C
has
a w
ild im
agin
atio
n
D
cann
ot b
e fu
lly t
rust
ed
STA
AR
En
glis
h I,
201
2, #
2
English I EOC Reading ■ Literary Texts © Sirius Education Solutions16–17
16E
ng
lish
I E
OC
Re
ad
ing
■ L
iter
ary
Text
s
Thin
k A
bo
ut
You
r Th
inki
ng
In t
he
char
t b
elo
w, n
ote
ho
w y
ou
eva
luat
ed e
ach
an
swer
ch
oic
e b
ased
on
th
e ev
iden
ce
in t
he
par
agra
ph
. On
e ev
alu
atio
n h
as b
een
co
mp
lete
d f
or
you
.
An
swer
C
ho
ices
Eval
uat
ion
Is a
nsw
er
sup
po
rted
?
FTh
e na
rrat
or is
tellin
g th
e st
ory
to M
arge
, so
the
read
er is
a
seco
ndha
nd w
itnes
s.no
G H J
Ind
ep
en
den
t Pra
ctic
e
You
will
hav
e th
e o
pp
ort
un
ity
to p
ract
ice
anal
yzin
g p
oin
t o
f vi
ew in
Fic
tio
n P
ract
ice
2.
The
read
er d
oes n
ot te
ll the
stor
y, so
this
is no
t the
corre
ct
answ
er.no
Yes,
we a
re lis
tenin
g to
, or o
bser
ving,
the
narra
tor a
s she
tells
th
e sto
ry to
Mar
ge, s
o we
bec
ome
third
-par
ty o
bser
vers.
yes
The
read
er d
oes n
ot p
artic
ipat
e in
the
story.
no
17
Re
ad
ing
Skil
l ■
Fict
ionRea
ding
Sk
ill 6
Unders
tandin
g H
isto
rica
l
or
Cult
ura
l Sett
ing
Wo
rks
wri
tten
or
set
in a
n e
arlie
r ti
me
per
iod
or
a d
ista
nt
pla
ce s
om
etim
es c
on
tain
u
nfa
mili
ar w
ord
s, p
hra
ses,
or
fig
ure
s o
f sp
eech
. So
me
of
thes
e cu
ltu
ral e
xpre
ssio
ns,
or
idio
ms,
may
hav
e a
mea
nin
g d
iffe
ren
t fr
om
th
e lit
eral
mea
nin
g o
f th
e w
ord
s. T
hes
e id
iom
s o
ften
exp
ress
th
e h
isto
rica
l or
cult
ura
l att
itu
des
of
the
char
acte
rs in
th
e st
ory
. C
on
text
clu
es a
nd
oth
er t
extu
al e
vid
ence
can
hel
p y
ou
dec
od
e th
e m
ean
ing
.
STA
AR
Str
ate
gy
Rea
d t
he
dra
ma
exce
rpt
and
qu
esti
on
bel
ow
. Th
en r
ead
th
e st
eps
for
answ
erin
g a
q
ues
tio
n li
ke t
his
. In
th
e ex
cerp
t, a
gir
l nam
ed A
nn
e is
wai
tin
g a
t a
trai
n s
tati
on
. As
she
wai
ts, s
he
talk
s w
ith
th
e st
atio
nm
aste
r, t
he
per
son
wh
o m
anag
es t
he
stat
ion
.
1 M
ake
sure
yo
u u
nd
erst
and
wh
at y
ou
are
bei
ng
ask
ed. I
t m
ay h
elp
to
tu
rn t
he
stem
in
to a
qu
esti
on
. Th
en c
ircl
e ke
y w
ord
s in
th
e q
ues
tio
n.
Wha
t do
es t
he s
tatio
nmas
ter’s
figu
rativ
e lang
uage
in p
arag
raph
1 1
indica
te a
bout
Ann
e?
(E1.
2C)
8 A
NN
E: .
. .
. I
don
’t e
ver
expe
ct t
o be
a b
ride
mys
elf.
I’m t
oo h
omel
y. B
ut I
hop
e th
at s
omed
ay I
sha
ll ha
ve a
whi
te d
ress
. Th
at is
my
high
est
idea
l of ea
rthl
y bl
iss.
[A
n ol
der
man
, ve
ry t
enta
tive
and
shy,
ent
ers.
He
stan
ds d
iffid
ently
off
to
the
side
, lo
okin
g ar
ound
for
som
ethi
ng a
t fir
st,
and
then
foc
uses
in o
n Ann
e an
d he
ars
her
last
few
line
s.]
9 S
TAT
ION
MA
STE
R:
[See
s th
e m
an a
nd g
oes
to h
im.]
Abo
ut t
ime
you
got
here
, M
atth
ew.
10
MA
TTH
EW
: W
ill t
he 5
:30
trai
n be
long
?
11
STA
TIO
NM
AS
TER
: Bee
n in
and
gon
e ha
lf an
hou
r. [
Indi
catin
g Ann
e.]
Ther
e sh
e is
. [C
onfid
ently
.] S
he’s
a c
ase.
Got
a t
ongu
e ru
ns lo
nger
tha
n a
frei
ght
trai
n to
O
ttaw
a.
In
par
agra
ph 1
1, t
he s
tatio
nmas
ter
uses
figu
rativ
e la
ngua
ge t
o in
dica
te t
hat
Ann
e —
A
has
trav
eled
a lo
ng w
ay
B
talk
s to
o m
uch
C
has
a w
ild im
agin
atio
n
D
cann
ot b
e fu
lly t
rust
ed
STA
AR
En
glis
h I,
201
2, #
2
English I EOC Reading ■ Literary Texts © Sirius Education Solutions16–17
Teacher’s Edition Sampler
19
Re
ad
ing
Skil
l ■
Fict
ion
Thin
k A
bo
ut
You
r Th
inki
ng
In t
he
char
t b
elo
w, n
ote
ho
w y
ou
use
d t
he
evid
ence
in t
he
par
agra
ph
to
hel
p y
ou
ch
oo
se t
he
answ
er. O
ne
line
has
bee
n c
om
ple
ted
fo
r yo
u.
An
swer
C
ho
ices
Text
ual
Evi
den
ceIs
an
swer
su
pp
ort
ed?
F“H
ere
it co
mes
” mea
ns w
hat
it sa
ys—h
ere
comes
the
ball. But
this
expr
essio
n co
uld
apply
to
anyt
hing
, not
just
bas
eball.
no
G H J
Ind
ep
en
den
t Pra
ctic
e
You
will
hav
e th
e o
pp
ort
un
ity
to p
ract
ice
un
der
stan
din
g a
wo
rk’s
cu
ltu
ral a
nd
h
isto
rica
l set
tin
g in
Fic
tio
n P
ract
ice
2.
Thes
e wo
rds s
eem
per
sona
l, no
t tra
ditio
nal.
no
Uncle
Cor
an ch
ants
in “
the
ancie
nt si
ngso
ng o
f ball
playe
rs.”
yes
Thes
e wo
rds c
ould
app
ly to
any
one
who
is sh
owing
som
eone
els
e ho
w to
do
som
ethin
g.no
18E
ng
lish
I E
OC
Re
ad
ing
■ L
iter
ary
Text
s
2 T
ry a
nsw
erin
g t
he
qu
esti
on
in y
ou
r h
ead
.
The
stat
ionm
aste
r sa
ys s
omet
hing
str
ange
: “Got
a ton
gue
runs
long
er t
han
a fr
eigh
t tr
ain
to O
ttaw
a.” I’m n
ot s
ure
wha
t th
at m
eans
—it m
ust
be a
figu
re o
f sp
eech
. May
be s
he talks
a lo
t or
tries
to
trick
peop
le?
3 C
on
firm
yo
ur
answ
er a
mo
ng
th
e an
swer
ch
oic
es. I
f yo
ur
answ
er d
oes
n’t
mat
ch u
p,
loo
k fo
r ev
iden
ce in
th
e te
xt t
o s
up
po
rt o
ne
of
the
resp
on
ses
giv
en.
Bot
h B a
nd D
see
m like
my
answ
ers.
Rea
ding
par
agra
ph 8
, I d
on’t
get
the
feeling
that
Ann
e is
untr
ustw
orth
y. It
just
see
ms
as if
she
talks
on
and
on. F
or
inst
ance
, why
is s
he talking
to
the
stat
ionm
aste
r ab
out
being
a br
ide?
I th
ink
choice
B is
cor
rect
.
Gu
ided
Pra
ctic
e
Rea
d t
he
sele
ctio
n a
nd
th
en r
esp
on
d t
o t
he
qu
esti
on
. Fo
llow
th
e ST
AA
R s
trat
egy
on
th
e p
revi
ou
s p
age.
“
Oka
y, D
oc,”
Unc
le Z
eno
says
. “K
eep
your
eye
on
the
ball.
Her
e it
com
es.”
Th
e ba
seba
ll in
Unc
le Z
eno’
s ha
nd is
alm
ost
invi
sibl
e, a
pie
ce o
f sm
oke,
a s
hado
w.
The
woo
ds o
n th
e fa
r si
de o
f th
e pa
stur
e ar
e al
read
y da
rk a
s sl
eep;
the
riv
er t
wis
ts
thro
ugh
them
by
mem
ory.
Unc
le Z
eno
toss
es t
he b
all g
ently
tow
ard
the
boy,
who
do
es n
ot s
ee it
unt
il its
arc
carr
ies
it ab
ove
the
blac
k lin
e of
tre
es,
whe
re it
han
gs f
or a
m
omen
t lik
e an
ecl
ipse
in t
he f
aint
ly g
low
ing
sky.
The
boy
is a
rm-w
eary
; he
sw
ings
as
hard
as
he is
abl
e. T
he b
at a
nd b
all c
ollid
e w
eakl
y. T
he b
all d
rops
to
the
grou
nd a
t th
e bo
y’s
feet
. It
lies
the
re s
tunn
ed,
quiv
erin
g, c
onta
inin
g fli
ght
bene
ath
its
smoo
th s
kin.
Th
e bo
y sw
itche
s th
e ba
t in
to h
is le
ft h
and,
pic
ks u
p th
e ba
ll w
ith h
is r
ight
, an
d th
row
s it
back
to
Unc
le Z
eno.
“I
hit
it ju
st a
bout
eve
ry t
ime,
” th
e bo
y sa
ys.
“B
atte
r, b
atte
r, b
atte
r, b
atte
r,” U
ncle
Al c
hirp
s in
the
fie
ld.
“S
ay,
wha
tta-
say,
wha
tta-
say,
wha
tta-
say,
” ch
ants
Unc
le C
oran
in t
he a
ncie
nt s
ings
ong
of b
allp
laye
rs.
The
uncl
es a
re s
ingi
ng t
o th
e bo
y. H
e ha
s ne
ver
hear
d an
ythi
ng s
o be
autif
ul.
He
does
not
wan
t it
to s
top.
“O
kay,
Doc
,” s
ays
Unc
le Z
eno.
“O
ne m
ore.
Now
wat
ch.”
W
hich
of th
e fo
llow
ing
is a
n ex
ampl
e of
an
expr
essi
on r
elat
ed t
o th
e ga
me
of b
aseb
all?
F “H
ere
it co
mes
.”
G
“I h
it it
just
abo
ut e
very
tim
e”
H
“Say
, w
hatt
a-sa
y, w
hatt
a-sa
y, w
hatt
a-sa
y”
J “O
ne m
ore.
Now
wat
ch.”
G H
J
F
© Sirius Education Solutions Reading Skill ■ Fiction 18–19
Teacher’s Edition Sampler
20E
ng
lish
I E
OC
Re
ad
ing
■ L
iter
ary
Text
s
Rea
ding
P
ract
ice
Fic
tion 1
Act
ive
Rea
din
gA
s You R
ead
In t
he m
argi
n, w
rite
a C
(for
ch
arac
ter)
nex
t to
dia
logu
e or
de
tails
tha
t he
lp y
ou u
nder
stan
d w
hat
char
acte
rs a
re t
hink
ing
or f
eelin
g. U
nder
line
and
writ
e a
P (fo
r pl
ot) n
ext
to e
vent
s or
co
nflic
t th
at t
he a
utho
r us
es t
o de
velo
p th
e pl
ot.
VO
CA
BU
LAR
Y
Read
inva
riabl
y in
par
agra
ph 3
an
d th
ink
abou
t its
mea
ning
. Br
eak
the
wor
d in
to w
ord
part
s th
at y
ou k
now
. The
suf
fix –
ly
mea
ns “
in a
way
tha
t is
.” W
hat
does
the
pre
fix in
– m
ean?
Wha
t de
finiti
on f
or in
varia
bly
can
you
com
e up
with
look
ing
at w
ord
part
s?
Rea
d t
he
sele
ctio
n a
nd
ch
oo
se t
he
bes
t an
swer
to
eac
h q
ues
tio
n.
from
Th
e O
pen
Boa
tby
Ste
phen
Cra
ne
1
N
one
of t
hem
kne
w t
he c
olor
of th
e sk
y. T
heir e
yes
glan
ced
leve
l, an
d w
ere
fast
ened
upo
n th
e w
aves
tha
t sw
ept
tow
ard
them
. Th
ese
wav
es w
ere
of t
he h
ue o
f sl
ate,
sav
e fo
r th
e to
ps,
whi
ch w
ere
of f
oam
ing
whi
te,
and
all o
f th
e m
en k
new
the
col
ors
of t
he s
ea.
The
hori
zon
narr
owed
and
wid
ened
, an
d di
pped
and
ros
e,
and
at a
ll tim
es it
s ed
ge w
as jag
ged
with
wav
es t
hat
seem
ed t
hrus
t up
in p
oint
s lik
e ro
cks.
2
Man
y a
man
oug
ht t
o ha
ve a
bat
h-tu
b la
rger
tha
n th
e bo
at w
hich
her
e ro
de u
pon
the
sea.
The
se w
aves
w
ere
mos
t w
rong
fully
and
bar
baro
usly
abr
upt
and
tall,
and
eac
h fr
oth-
top
was
a p
robl
em in
sm
all b
oat
navi
gatio
n.
3
The
cook
squ
atte
d in
the
bot
tom
and
look
ed w
ith
both
eye
s at
the
six
inch
es o
f gu
nwal
e w
hich
sep
arat
ed
him
fro
m t
he o
cean
. H
is s
leev
es w
ere
rolle
d ov
er h
is
fat
fore
arm
s, a
nd t
he t
wo
flaps
of hi
s un
butt
oned
ves
t da
ngle
d as
he
bent
to
bail
out
the
boat
. O
ften
he
said
: “G
awd!
Tha
t w
as a
nar
row
clip
.” A
s he
rem
arke
d it
he
inva
riab
ly g
azed
eas
twar
d ov
er t
he b
roke
n se
a.
4
The
oile
r1 , s
teer
ing
with
one
of th
e tw
o oa
rs in
the
bo
at,
som
etim
es r
aise
d hi
mse
lf su
dden
ly t
o ke
ep c
lear
of
wat
er t
hat
swir
led
in o
ver
the
ster
n. I
t w
as a
thi
n lit
tle
oar
and
it se
emed
oft
en r
eady
to
snap
.
5
Th
e co
rres
pond
ent2 ,
pul
ling
at t
he o
ther
oar
, w
atch
ed t
he w
aves
and
won
dere
d w
hy h
e w
as t
here
.
6
Th
e in
jure
d ca
ptai
n, ly
ing
in t
he b
ow,
was
at
this
tim
e bu
ried
in t
hat
prof
ound
dej
ectio
n an
d in
diff
eren
ce
whi
ch c
omes
, te
mpo
rari
ly a
t le
ast,
to
even
the
bra
vest
an
d m
ost
endu
ring
whe
n, w
illy-
nilly
, th
e fir
m f
ails
, th
e ar
my
lose
s, t
he s
hip
goes
dow
n. T
he m
ind
of t
he m
aste
r of
a v
esse
l is
root
ed d
eep
in t
he t
imbe
rs o
f he
r, t
houg
h he
com
man
ded
for
a da
y or
a d
ecad
e, a
nd t
his
capt
ain
1 som
eone
who
oils
the
mac
hine
ry o
f a
ship
2 a re
port
er
In a
way
that
is n
ot
varia
ble;
cons
tant
ly
P CC C
21
Re
ad
ing
Pra
ctic
e ■
Fic
tio
n
FIG
UR
ATI
VE
LAN
GU
AG
E
Wha
t is
the
boa
t co
mpa
red
to
in p
arag
raph
9?
How
doe
s th
is
met
apho
r he
lp t
o de
velo
p th
e st
ory’
s se
ttin
g?
had
on h
im t
he s
tern
impr
essi
on o
f a
scen
e in
the
gre
ys
of d
awn
of s
even
tur
ned
face
s, a
nd la
ter
a st
ump
of a
to
p-m
ast
with
a w
hite
bal
l on
it th
at s
lash
ed t
o an
d fr
o at
the
wav
es,
wen
t lo
w a
nd lo
wer
, an
d do
wn.
The
reaf
ter
ther
e w
as s
omet
hing
str
ange
in h
is v
oice
. Alth
ough
st
eady
, it
was
dee
p w
ith m
ourn
ing,
and
of a
qual
ity
beyo
nd o
ratio
n or
tea
rs.
7
“K
eep
‘er
a lit
tle m
ore
sout
h, B
illie
,” s
aid
he.
8
“’A
litt
le m
ore
sout
h,’ s
ir,”
said
the
oile
r in
the
ste
rn.
9
A s
eat
in t
his
boat
was
not
unl
ike
a se
at u
pon
a bu
ckin
g br
onco
, an
d, b
y th
e sa
me
toke
n, a
bro
nco
is
not
muc
h sm
alle
r. T
he c
raft
pra
nced
and
rea
red,
and
pl
unge
d lik
e an
ani
mal
. A
s ea
ch w
ave
cam
e, a
nd s
he
rose
for
it,
she
seem
ed li
ke a
hor
se m
akin
g at
a f
ence
ou
trag
eous
ly h
igh.
The
man
ner
of h
er s
cram
ble
over
th
ese
wal
ls o
f w
ater
is a
mys
tic t
hing
, an
d, m
oreo
ver,
at t
he t
op o
f th
em w
ere
ordi
nari
ly t
hese
pro
blem
s in
w
hite
wat
er,
the
foam
rac
ing
dow
n fr
om t
he s
umm
it of
ea
ch w
ave,
req
uiri
ng a
new
leap
, an
d a
leap
fro
m t
he a
ir.
Then
, af
ter
scor
nful
ly b
umpi
ng a
cre
st,
she
wou
ld s
lide,
an
d ra
ce,
and
spla
sh d
own
a lo
ng in
clin
e, a
nd a
rriv
e bo
bbin
g an
d no
ddin
g in
fro
nt o
f th
e ne
xt m
enac
e.
10
A s
ingu
lar
disa
dvan
tage
of th
e se
a lie
s in
the
fac
t th
at a
fter
suc
cess
fully
sur
mou
ntin
g on
e w
ave
you
disc
over
tha
t th
ere
is a
noth
er b
ehin
d it
just
as
impo
rtan
t an
d ju
st a
s ne
rvou
sly
anxi
ous
to d
o so
met
hing
eff
ectiv
e in
the
way
of sw
ampi
ng b
oats
. In
a t
en-f
oot
ding
er o
ne
can
get
an id
ea o
f th
e re
sour
ces
of t
he s
ea in
the
line
of
wav
es t
hat
is n
ot p
roba
ble
to t
he a
vera
ge e
xper
ienc
e th
at is
nev
er a
t se
a in
a d
ingh
y. A
s ea
ch s
alty
wal
l of
wat
er a
ppro
ache
d, it
shu
t al
l els
e fr
om t
he v
iew
of th
e m
en in
the
boa
t, a
nd it
was
not
diff
icul
t to
imag
ine
that
th
is p
artic
ular
wav
e w
as t
he f
inal
out
burs
t of
the
oce
an,
the
last
eff
ort
of t
he g
rim
wat
er.
Ther
e w
as a
ter
ribl
e gr
ace
in t
he m
ove
of t
he w
aves
, an
d th
ey c
ame
in
sile
nce,
sav
e fo
r th
e sn
arlin
g of
the
cre
sts.
...
11
In
dis
join
ted
sent
ence
s th
e co
ok a
nd t
he
corr
espo
nden
t ar
gued
as
to t
he d
iffer
ence
bet
wee
n a
life-
savi
ng s
tatio
n an
d a
hous
e of
ref
uge.
The
coo
k ha
d sa
id:
“The
re’s
a h
ouse
of re
fuge
jus
t no
rth
of t
he
Mos
quito
Inl
et L
ight
, an
d as
soo
n as
the
y se
e us
, th
ey’ll
co
me
off in
the
ir b
oat
and
pick
us
up.”
12
“A
s so
on a
s w
ho s
ee u
s?”
said
the
cor
resp
onde
nt.
13
“T
he c
rew
,” s
aid
the
cook
.
The
boat
is co
mpa
red
to a
wild
hor
se, a
nd it
m
akes
the
setti
ng se
em
wild
, unp
redic
tabl
e, an
d da
nger
ous.
C
P P C
English I EOC Reading ■ Literary Texts © Sirius Education Solutions20–21
Teacher’s Edition Sampler
22E
ng
lish
I E
OC
Re
ad
ing
■ L
iter
ary
Text
s
14
“H
ouse
s of
ref
uge
don’
t ha
ve c
rew
s,”
said
the
co
rres
pond
ent.
“A
s I
unde
rsta
nd t
hem
, th
ey a
re o
nly
plac
es w
here
clo
thes
and
gru
b ar
e st
ored
for
the
ben
efit
of s
hipw
reck
ed p
eopl
e. T
hey
don’
t ca
rry
crew
s.”
15
“O
h, y
es,
they
do,
” sa
id t
he c
ook.
16
“N
o, t
hey
don’
t,”
said
the
cor
resp
onde
nt.
17
“W
ell,
we’
re n
ot t
here
yet
, an
yhow
,” s
aid
the
oile
r, in
th
e st
ern.
18
“W
ell,”
sai
d th
e co
ok,
“per
haps
it’s
not
a h
ouse
of
refu
ge t
hat
I’m t
hink
ing
of a
s be
ing
near
Mos
quito
Inl
et
Ligh
t. P
erha
ps it
’s a
life
-sav
ing
stat
ion.
”
19
“We’
re n
ot t
here
yet
,” s
aid
the
oile
r, in
the
ste
rn.
C
ourt
esy
of t
he a
rtis
t, R
ober
t Q
uack
enbu
sh.
CH
AR
AC
TER
Wha
t re
mar
k do
es t
he o
iler
mak
e in
par
agra
phs
17 a
nd 1
9?
Why
do
you
thin
k he
rep
eats
hi
mse
lf?
AN
ALY
ZE I
MA
GES
Wha
t do
es t
he im
age
reve
al
abou
t th
e st
ory’
s se
ttin
g? W
rite
dow
n so
me
thin
gs y
ou le
arn
abou
t th
e st
ory
or c
hara
cter
s fr
om lo
okin
g at
the
woo
dcut
dr
awin
g.
The
oiler
rem
arks
twice
th
at th
ey h
ave
not
reac
hed
a sp
ecifi
c plac
e. He
is p
ointin
g ou
t tha
t it
does
not
mat
ter w
hat
they
call t
he p
lace
they
ar
e he
aded
, the
y mus
t ge
t the
re fi
rst.
We
see
the
boat
is
small
and
so th
e m
en
are
not s
afe.
The
men
lo
ok ti
red
and
worri
ed.
C
Reading Practice ■ Fiction© Sirius Education Solutions 22
No
tes
Teacher’s Edition Sampler
23
Re
ad
ing
Pra
ctic
e ■
Fic
tio
n
1
Rea
d th
e fo
llow
ing
from
par
agra
ph 1
. (E
1.5
Fig.
19B
)
Thes
e w
aves
wer
e of
the
hue
of sl
ate,
sav
e fo
r th
e to
ps,
whi
ch w
ere
of f
oam
ing
whi
te,
and
all o
f th
e m
en
knew
the
col
ors
of t
he s
ea.
The
read
er c
an in
fer
from
thi
s lin
e th
at t
he c
hara
cter
s —
A
are
happ
y to
be
on t
he o
pen
wat
er
B
have
str
ong
visu
al m
emor
ies
C
have
all
been
to
sea
befo
re
D
are
expe
rien
ced
fishe
rmen
2
In p
arag
raph
3,
the
wor
d in
vari
ably
mea
ns —
(E
1.1B
)
F co
nsta
ntly
G
wor
ried
ly
H
nerv
ousl
y
J re
sent
fully
3
From
par
agra
ph 6
, th
e re
ader
can
infe
r th
at t
he c
apta
in —
(E
1.5B
)
A
had
prev
ious
ly f
ough
t in
a w
ar
B
has
lost
his
min
d
C
is n
ot r
espe
cted
by
his
crew
D
is d
epre
ssed
ove
r th
e lo
ss o
f hi
s sh
ip
English I EOC Reading ■ Literary Texts © Sirius Education Solutions
An
swer
Ch
oic
e Ex
pla
nat
ion
s
1
A T
here
is n
o ev
iden
ce t
o su
gges
t th
e m
en a
re h
appy
to
be o
n th
e op
en w
ater
. The
ir fe
elin
gs a
re n
ot d
iscu
ssed
.
B I
t is
not
nec
essa
ry f
or t
he m
en t
o ha
ve s
tron
g vi
sual
mem
orie
s fo
r th
em t
o be
fam
iliar
with
the
col
ors
of t
he s
ea.
C
Cor
rect
. The
line
say
s “a
ll of
the
men
kne
w t
he c
olor
s of
the
se
a,”
sugg
estin
g th
at t
hey’
ve b
een
out
to s
ea b
efor
e.
D I
t ca
n be
infe
rred
tha
t th
e m
en h
ave
been
out
to
sea
befo
re, b
ut
not
that
the
y ar
e fis
herm
en.
2
F C
orre
ct. I
nvar
iabl
y is
an
adve
rb c
ompr
isin
g th
e pr
efix
in–
(“no
t”)
and
the
stem
var
iabl
e (“
chan
geab
le”)
. Som
ethi
ng t
hat
is d
one
inva
riabl
y is
don
e co
nsta
ntly
.
G W
hile
the
cha
ract
er m
ay b
e w
orrie
d, h
is a
ct o
f ga
zing
out
to
the
sea
is n
ot d
one
wor
riedl
y bu
t in
stea
d do
ne c
onst
antly
whi
le h
e sp
eaks
.
H I
nvar
iabl
y do
es n
ot m
ean
“ner
vous
ly.”
J
Inva
riabl
y ne
ver
mea
ns “
rese
ntfu
lly.”
3
A A
shi
p go
ing
dow
n is
com
pare
d to
an
arm
y lo
sing
in t
his
para
grap
h, b
ut t
here
is n
o ev
iden
ce t
o su
gges
t th
at t
he c
apta
in
has
pers
onal
exp
erie
nce
of t
he la
tter
.
B A
lthou
gh t
he p
assa
ge d
escr
ibes
how
the
min
d of
a c
apta
in is
ro
oted
in t
he t
imbe
rs o
f th
e sh
ip, t
his
is p
urel
y fig
urat
ive
and
ther
e is
no
evid
ence
to
sugg
est
the
capt
ain
has
“los
t hi
s m
ind”
(i.
e., g
one
craz
y).
C
The
re is
no
men
tion
in t
his
para
grap
h of
how
the
cap
tain
’s c
rew
re
spon
ds t
o hi
m.
D
Cor
rect
. The
cap
tain
is d
escr
ibed
as
bein
g bu
ried
in t
he
“pro
foun
d de
ject
ion”
(a s
ynon
ym f
or d
epre
ssio
n), w
hich
hap
pens
w
hen
“the
shi
p go
es d
own.
”
23
Teacher’s Edition Sampler
24
En
gli
sh I
EO
C R
ea
din
g ■
Lit
erar
y Te
xts
4
Rea
d th
e fo
llow
ing
from
par
agra
ph 9
. (E
1.7
Fig.
19B
)
A s
eat
in t
his
boat
was
not
unl
ike
a se
at u
pon
a bu
ckin
g br
onco
, an
d, b
y th
e sa
me
toke
n, a
bro
nco
is n
ot m
uch
smal
ler. T
he c
raft
pra
nced
and
rea
red,
and
plu
nged
like
an
ani
mal
. As
each
wav
e ca
me,
and
she
ros
e fo
r it,
she
se
emed
like
a h
orse
mak
ing
at a
fen
ce o
utra
geou
sly
high
.
The
auth
or u
ses
figur
ativ
e la
ngua
ge in
thi
s pa
ragr
aph
to s
how
—
F th
e ch
arac
ters
are
like
cow
boys
G
the
sett
ing
is d
ange
rous
H
the
sailo
rs’ a
dven
ture
is e
xciti
ng
J th
e bo
at h
as a
min
d of
its
own
5
In p
arag
raph
s 11
thr
ough
19,
wha
t ro
le d
oes
the
oile
r pl
ay in
the
dev
elop
men
t of
the
sto
ry?
(E
1.5B
)
A
He
shar
es h
is k
now
ledg
e ab
out
hous
es o
f re
fuge
.
B
He
offe
rs a
pes
sim
istic
out
look
.
C
He
acts
as
a re
alis
t an
d is
con
cern
ed w
ith t
he p
rese
nt.
D
He
trie
s to
set
tle t
he a
rgum
ent
betw
een
the
othe
rs o
n th
e bo
at.
6
Whi
ch d
etai
l is
emph
asiz
ed m
ore
in t
he w
oodc
ut t
han
it is
in t
he s
tory
? (E
1.12
A)
F Th
e ca
ptai
n’s
moo
d
G
The
size
of th
e bo
at
H
The
cond
ition
s at
sea
J Th
e re
latio
nshi
p be
twee
n th
e sa
ilors
Reading Practice ■ Fiction© Sirius Education Solutions
An
swer
Ch
oic
e Ex
pla
nat
ion
s
4
F Th
e au
thor
use
s ro
deo
imag
ery
not
to s
ugge
st t
hat
the
sett
ing
is s
imila
r to
a r
odeo
, but
to
illus
trat
e th
at t
he s
ettin
g is
wild
and
da
nger
ous.
G
Cor
rect
. The
imag
e of
the
boa
t bu
ckin
g lik
e a
bron
co, p
ranc
ing
and
rear
ing,
and
ris
ing
for
each
wav
e “l
ike
a ho
rse
mak
ing
at a
fe
nce
outr
ageo
usly
hig
h” il
lust
rate
s th
e da
nger
ous
posi
tion
the
boat
’s o
ccup
ants
are
in.
H
The
figu
rativ
e la
ngua
ge is
use
d to
mak
e th
e se
ttin
g se
em w
ild t
o th
e po
int
of b
eing
dan
gero
us, n
ot e
xciti
ng.
J
The
auth
or u
ses
anim
al im
ager
y to
illu
stra
te h
ow w
ild a
nd
dang
erou
s th
e se
ttin
g is
, not
to
sugg
est
that
it is
lite
rally
like
an
anim
al.
5
A T
he c
orre
spon
dent
sha
res
his
know
ledg
e ab
out
hous
es o
f re
fuge
, no
t th
e oi
ler.
B
“W
e’re
not
the
re y
et”
is a
sta
tem
ent
of f
act;
it is
nei
ther
in
here
ntly
pes
sim
istic
nor
opt
imis
tic. I
t is
a r
emin
der
of t
he r
ealit
y of
the
situ
atio
n.
C C
orre
ct. T
he o
iler
tells
his
fel
low
cre
wm
embe
rs t
wic
e, “
We’
re n
ot
ther
e ye
t,” p
oint
ing
out
the
futil
ity o
f ar
guin
g ab
out
the
hous
e of
re
fuge
bef
ore
they
kno
w if
the
y’ll
even
mak
e it
ther
e.
D T
he o
iler
does
not
get
invo
lved
in t
he a
rgum
ent
or t
ry t
o st
op it
; he
mer
ely
poin
ts o
ut t
he r
ealit
y of
the
situ
atio
n.
6
F It
is d
ifficu
lt to
det
erm
ine
anyt
hing
abo
ut t
he c
apta
in’s
moo
d fr
om t
he w
oodc
ut, b
ut it
is d
iscu
ssed
in g
reat
det
ail i
n th
e st
ory
(par
agra
ph 6
).
G C
orre
ct. I
t is
imm
edia
tely
cle
ar f
rom
look
ing
at t
he w
oodc
ut
that
the
boa
t is
tin
y co
mpa
red
to t
he w
aves
, but
the
phy
sica
l de
scrip
tion
of t
he b
oat
is m
ore
of a
min
or p
oint
in t
he s
tory
.
H T
he c
ondi
tions
at
sea
are
emph
asiz
ed g
reat
ly b
oth
in t
he
woo
dcut
(the
larg
e w
aves
) and
the
sto
ry (p
arag
raph
9).
J
It is
diffi
cult
to d
eter
min
e an
ythi
ng a
bout
the
rel
atio
nshi
p be
twee
n th
e sa
ilors
fro
m t
he w
oodc
ut, b
ut it
is d
iscu
ssed
in
para
grap
hs 1
1 th
roug
h 19
of
the
stor
y.
24
Teacher’s Edition Sampler
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ENGLISH I EOC READINGSTAAR® Preparation and Practice
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
• 31 passages with over 180 authentic STAAR questions
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ENG
LISH I EO
C READ
ING
STAA
R Preparation and Practice
1: Literary TextsFiction
Diagnostic Test, Reading Skills & Practice,Post Test
DramaDiagnostic Test, Reading Skills & Practice,Post Test
Literary NonfictionDiagnostic Test, Reading Skills & Practice,Post Test
PoetryDiagnostic Test, Reading Skills & Practice,Post Test
2: Informational TextsExpository
Diagnostic Test, Reading Skills & Practice,Post Test
PersuasiveDiagnostic Test, Reading Skills & Practice,Post Test
3: Paired TextsDiagnostic Test, Reading Skills & Practice,Post Test
ENGLISH I EOC READING CONTENTS
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2017 UPDATE
2017 UPDATE
Page 2 © Sirius Education Solutions
Written Composition
STUDENTS MAY NOT WRITE OUTSIDE OF THE BOX
Page 1 © Sirius Education Solutions
1 A DB C
2 F JG H
3 A DB C
4 F JG H
5 A DB C
6 F JG H
7 A DB C
8 F JG H
9 A DB C
10 F JG H
11 A DB C
12 F JG H
13 A DB C
14 F JG H
15 A DB C
16 F JG H
17 A DB C
18 F JG H
19 A DB C
20 F JG H
21 A DB C
22 F JG H
23 A DB C
24 F JG H
25 A DB C
26 F JG H
Name Class Date Form
STAAR English I Practice Test Student Answer Sheet
27 A DB C
28 F JG H
29 A DB C
30 F JG H
31 A DB C
32 F JG H
33 A DB C
34 F JG H
35 A DB C
36 F JG H
37 A DB C
38 F JG H
39 A DB C
40 F JG H
41 A DB C
42 F JG H
43 A DB C
44 F JG H
45 A DB C
46 F JG H
47 A DB C
48 F JG H
49 A DB C
50 F JG H
51 A DB C
52 F JG H
2017 UPDATE
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STAAR® ENGLISH IPractice Test—Form B
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STAAR® ENGLISH IPractice Test—Form A
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STAAR® ENGLISH IPractice Test—Forms A & BTeacher’s Edition
Table of Contents Form A
Answer Key 1 Composition Sample Responses 2 Answer Explanations 4
Form B Answer Key 12 Composition Sample Responses 13 Answer Explanations 15
References STAAR English I Expository Compositions 22 Tips for Grading Expository Responses 24 Student Answer Sheet 26
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Practice Test – Form A Answer Key
© Sirius Education Solutions 1
Item Number
Reporting Category
Readiness or Supporting
Content Student Expectation
Correct Answer
1 5 Supporting E1.16(A) C 2 5 Supporting E1.16(A) G 3 5 Readiness E1.13(C) A 4 5 Readiness E1.13(C) G 5 5 Readiness E1.13(C) D 6 5 Supporting E1.15(A) F 7 5 Readiness E1.13(C) B 8 5 Readiness E1.13(C) H 9 5 Supporting E1.15(A) D 10 6 Readiness E1.19(A) G 11 6 Readiness E1.13(D) A 12 6 Readiness E1.17(C) J 13 6 Supporting E1.18(B) B 14 6 Supporting E1.18(B) G 15 6 Readiness E1.17(C) A 16 6 Readiness E1.19(A) H 17 6 Supporting E1.18(B) A 18 6 Supporting E1.17(A) G 19 2 Readiness E1.5(B) C 20 1 Readiness E1.1(B) G 21 2 Supporting E1.2(C) C 22 2 Readiness E1.5(B) G 23 2 Readiness E1.5(B) A 24 2 Supporting E1.7 Fig. 19(B) H 25 1 Readiness E1.1(B) B 26 3 Readiness E1.8(A) H 27 3 Readiness E1.9(C) A 28 3 Readiness E1.9(C) G 29 3 Readiness E1.9(C) D 30 3 Readiness E1.9(C) J 31 3 Supporting E1.12 Fig 19(B) B 32 3 Readiness E1.9(C) F 33 1 Readiness Fig. 19(B) D 34 1 Readiness Fig. 19(B) G 35 1 Readiness Fig. 19(B) C 36 1 Readiness Fig. 19(B) H 37 2 Supporting E1.4(A) D 38 2 Supporting E1.4(A) H 39 2 Supporting E1.4(A) A 40 2 Supporting Fig. 19(B) J 41 2 Supporting E1.4(A) A 42 2 Supporting E1.4(A) H 43 2 Supporting E1.2B B 44 2 Supporting Fig. 19(B) F 45 2 Supporting Fig. 19(B) B 46 1 Readiness E1.1(B) H 47 2 Supporting E1.2B C 48 2 Supporting E1.6(A) F 49 2 Supporting Fig. 19(B) B 50 2 Supporting E1.6(A) F 51 2 Supporting Fig. 19(B) C 52 1 Readiness E1.1E J
Practice Test – Form A Answer Explanations
4 © Sirius Education Solutions
1 A This sentence states a fact but does not state the writer’s position.
B This sentence is unnecessarily harsh and accusative and might turn off readers.
C Correct. The position statement clarifies the focus of the paper, making it clear why Monika wants readers to support water conservation.
D This sentence focuses on the writer and does not effectively influence the reader.
2 F This personal anecdote supports the idea
that the summer of 2011 was hot, but not the hottest.
G Correct. This sentence provides statistical evidence to prove that the summer of 2011 was the hottest.
H This fact is common knowledge and does very little to support sentence 8.
J This fact is interesting, but not relevant to sentence 8 since it discusses water, not temperature.
3 A Correct. The pronoun referent of they
is unclear, so it’s best to replace they with The wildfires.
B Demolish means “to knock down.” Fires typically consume things, rather than knock them down.
C It is unclear whether all the homes destroyed were houses, so this replacement is problematic.
D Inhabitants is awkwardly formal for this context.
4 F Changing sentence 34 into an introductory
clause using when creates an inappropriate causal relationship between the ideas in the original two sentences.
G Correct. The revised sentence correctly uses a semicolon to join two independent clauses. The adverb similarly strengthens the connection between the subjects of each clause.
H The revised sentence incorrectly uses a compound subject, farmers and ranchers, because ranchers do not lose money when their crops fail and farmers do not have to spend more money to get feed and water for their livestock.
J The coordinating conjunction then creates an inappropriate chronological relationship between the ideas in the original two sentences.
5 A The adverb wisely correctly modifies the
verb using. The adjective wise would be incorrect in this context.
B Insure means “to get insurance,” which would be inappropriate in this context. An acceptable replacement would be ensure, “to make certain,” but the change would not make the sentence any clearer.
C Wildlife is a broad category that includes more than just mammals; for example, birds, insects, and lizards. Substituting wildlife with mammals would be incorrectly limiting.
D Correct. Desires are things that are strongly wished for or wanted, but not necessarily needed. The focus of the paper is on how essential water is for living things, so needs is a more appropriate word choice.
6 F Correct. The sentence introduces the
topic of the paper and makes readers want to learn more about it.
G This sentence provides the same information as the original sentence and is unnecessarily wordy.
H This sentence focuses on the writer and not the topic of the paper, which is still a mystery.
J This statement identifies the paper’s topic, but because it uses the Latin name, readers are still in the dark about what the topic actually is.
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