Daily Lesson Plans

Daily Lesson Plan
Date: January 6, 2015

Class: Short Fiction
Title: Welcome and introductions
Objectives:
Introduce myself to the class.
Meet students.
Outline course.
Students Complete Pre-test
Standards: N/A
Materials:
Quarter 3 Pre-test
Procedures:
8:00 8:10 Breakfast
8:10 8:12 Take attendance
8:12 8:25 Introduce myself to students
8:25 8:35 Outline course to students
8:35 9:00 Students complete Pre-test
9:00 9:05 Talk with students
Assessment: Pre-test will be scored and students will be assessed on the level of their preexisting knowledge of short stories and major authors. This will be used for assessment only and
not count towards their grades.
Through speaking with students I will attempt to assess their feelings towards English class, their
reading interests, as well as other outside interests that may prove helpful to my structuring of
the class.
Modifications/Adaptations: None necessary/possible at this time.
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Reflection: Today, I feel, went very well. I have met some of the students previously during my
pre-service visits to the school, and I think these early relationships will prove very beneficial to
gaining the trust of the rest of the students. Some seemed to remain somewhat skeptical of me
by the end of class but I think that is to be expected in this environment where much of the
student population, I have been informed, deal with trust issues with adults. Connie was very
supportive though and I believe having her in my corner and advocating for me will really help
speed things along in terms of developing relationships with the students.
I did feel somewhat unprepared today though. I anticipated that prior to starting the semester
Connie and I would have met a few more times and I would have been fully briefed and provided
critical information regarding the school and the students. Unfortunately, I have received no
such coaching to this point.
Materials Unit Pre-test

Short Fiction
Name_____________________________________
Quarter 3
Date_________________
Unit Pre-test / Assessment
To the best of your ability and in complete sentences, please respond to the following questions:
1) What are the defining qualities and/or characteristics of the short story? What makes it different from
other forms of literature?
2) What is the history of the modern short story? What were its origins?
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3) Why do we create, tell, and write stories?
4) What significance, if any, do stories have in our lives?
5) List 3 major writers of short fiction and state why they are considered to be highly influential.
6) Is conflict necessary in a story? Can there be meaning without it?
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Title: Introduction to the Modern Short Story
Objectives/Learning Targets:
Define the history and basic form and structure of the modern short story.
Assess students for levels of background knowledge.
Students will be able to define Short Stories as a distinct form, not a genre.
Students will learn the basic evolution of the modern short story.
Students will learn the major defining characteristics of modern short stories.
Standards:
2.1.b - Describe and contrast characteristics of specific literary movements and perspectives.
2.1.c - Evaluate the influence of historical context on the form, style, and point of view of a
written work.
2.2.c - Use reading and note-taking strategies (outlining, mapping systems, skimming, scanning,
key word search) to organize information and make connections within and across informational
texts
Materials:
Teacher White board, copy of Modern Short Story handout
Students Copy of Modern Short Story handout, writing utensil
Procedures:
8:00 8:10 Breakfast
8:10 8:15 Attendance and distribute Handouts
8:15 8:35 History of the form students follow along and take notes/highlight handout
8:35 8:55 Defining the Form students follow along and take notes/highlight handout
8:55 9:05 Address student questions about what was covered
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Assessment: Students will be informally assessed through teacher observation during lecture
and discussion. This lesson is intended to be only a simple introduction to major concepts and
terms that we will discuss in depth in later lessons. Teacher will closely monitor student
engagement levels and take note of which concepts the students are familiar with and which are
completely new and adjust future lessons accordingly. Handouts will be turned in to the class bin
and reviewed for note taking solely for assessment purposes, no grade will be given.
Modifications/Adaptations: None are anticipated necessary at this time. However, time will be
allotted to allow for deeper clarification based on student questions.
Reflection: Over all the day went well. The class seems to be warming up to me more and
appeared to be well engaged with the lesson. With many of the students having just finished a
class on creative writing last semester, a good portion of them are already familiar with concepts
of characterization, setting, and plot structure. For the remainder of the students, this appeared to
be a lot of information for them to process in a single day I must keep in mind that classes here
progress at a slower pace than in traditional schools. However, reassuring them that this was just
a once-over, and everything will be discussed in more detail as we move along seemed to
alleviate much of their concerns. I believe this class will go very well. No management issues
so far, but I anticipate some to arise as students get more familiar and comfortable with me and
try to test my limits.
Included Materials Student handout
The Modern Short Story

History and Origins:
The modern short story has a history that goes back arguably as long as
human existence possibly even longer, to early human ancestors
Has its roots in oral tradition the various parts, or episodes, of works like
The Iliad and The Odyssey can be considered to be the first recorded
examples of the Short Story.
Other early examples include: myths and legends, creation stories, folk
tales, fairy tales, etc.
Early stories were histories, explanations of the world (natural events, how
and why things are), and lessons.
Our word Story, comes from the word History
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o Etymology: < Anglo-Norman estorie (Old French estoire , later in

semi-learned form histoire ) < Latin historia : see history n. Compare
Italian storia , medieval Latin storia.
Over time, stories turned to a form of entertainment works of pure fiction
made up to pass the time.
In Europe, the oral story-telling tradition began to develop into written
stories in the early 14th century, most notably with Geoffrey Chaucer's
Canterbury Tales and Giovanni Boccaccio's Decameron. Both of these
books are composed of individual short stories (which range from farce or
humorous anecdotes to well-crafted literary fictions) set within a larger
narrative story (a frame story).
Largely, these early examples focused on telling histories, or were used to
teach morals or lessons (fables, anecdotes), or were hero-stories.
Early examples of short stories as a unique form were published separately
between 1790 and 1810.
The first true collections of short stories appeared between 1810 and 1830 in
several countries around the same period.
In the US:
o Charles Brockden Brown's "Somnambulism" 1805.
o Washington Irvings "Rip van Winkle" (1819) and "The Legend of
Sleepy Hollow" (1820).
o Nathaniel Hawthorne, Twice-Told Tales (1837).
o Edgar Allan Poe wrote his tales between 1832 and 1849.
Arguably the first Modern short story - Walter Scotts story The Two
Drovers, published in Chronicles of the Canongate in 1827.
So what really distinguishes these from the Modern short story?
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Defining Characteristics
A shift from the hero to the underdog writers began focusing on the
realistic brutality of life. No happy endings, no resolution as in life, short
stories dont truly begin or end, but are part of a larger story.
A focus on real life either as a representation or a critique or commentary
on it (science fiction, for example)
Not bound to the same standard format of longer fiction (novels or novellas).
Earlier short fiction was typically more true to this standard format.
Length What counts as short?
Highly contested, but generally considered to be between 1,600 20, 000
words.
Poe claimed (in "The Philosophy of Composition", 1846): it should be short
enough to be read in a single sitting, from 30 min. 2 hrs.
Subject
A single, easily contained Plot
Can be in any Genre (SciFi, Historical, Fantasy, Adventure, etc.)
Can be on any Subject
In Medias Res Into the Middle of Things
Typically start abruptly, with little to no prior or background information
given.
Tend to end equally abruptly there may be no resolution.
A single or limited setting.
Cover a limited time period.
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Character(s)
Limited number of characters
Not usually fully or even deeply developed.

Title: A Clean Well-lighted Place
Objectives:
Read and analyze A Clean, and Well-lighted Place for literary devices and craft
Begin defining the Modern qualities of short fiction
Students will be able to identify and explain how the text exhibits at least one key quality
of modern short stories.
Standards:
1.2.a - Work with peers to promote civil, democratic discussions and decision-making, set clear
goals and deadlines, and establish individual roles as needed. (CCSS: SL.11-12.1b)
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1.2.b - Propel conversations by posing and responding to questions that probe reasoning and
evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or
challenge ideas and conclusions; and promote divergent and creative perspectives. (CCSS:
SL.11-12.1c)
written work.
2.1.e - Evaluate how literary components impact meaning (such as tone, symbolism, irony,
extended metaphor, satire, hyperbole).
3.2.g - Draw a conclusion by synthesizing information.
Materials:
Teacher Computer and Smart Board, Hemingway video:
(http://www.biography.com/people/ernest-hemingway-9334498/videos/ernest-hemingway-minibiography-572995835), copy of A Clean Well-Lighted Place
Students Copy of A Clean Well-lighted Place, writing utensil, paper
Procedures:
8:00 8:10: Bfast
8:10 8:15 Mini bio on Hemingway (video)
8:15 8:25: Introduce A Clean, Well-lighted Place and Hemingway, Hemingway mini Bio video
8:25 8:45: Read story Students take note of elements of form as we read, consider how they
are used/function in the story.
8:45 9:00 Discuss the story
9:00 9:05 Students respond to exit ticket prompt - State and explain one lasting impact you
feel this story has had on you in terms of understanding the short story form.
Assessment: Exit ticket responses will be assessed for demonstration of critical thinking and
understanding of at least one major element of the short story form. Students should be able to
explain how the story exemplifies at least one of the major components of form.
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Modifications/Adaptations: The lesson and material is anticipated to be accessible to students

of all ability levels. The exit ticket prompt has been crafted to allow for all students to
demonstrate their individual level of understanding.
Reflection: This lesson went very well. Students were all engaged with the story and from their
comments it was clear that the majority of the class enjoyed and appreciated the story
something I was concerned with initially. A portion of students were noticed to not be taking
notes as I read the story to them, yet all appeared to be following along with the reading.
Students were actively engaged with the discussion and demonstrated very high levels of
comprehension and critical thinking in their questions and responses. All of the students are
demonstrating that they are completely capable of understanding the material, but I get the
impression that they have been severely underestimated in the past and lack a critical level on
confidence in their abilities. They are initially hesitant when presented with challenging
materials and questions, but do rise to meet the challenge with proper encouragement.
Additional Materials Inquiry Questions for discussion:

Discussion Questions
Why do you think I selected this story? What about this story stands out to you?
Who is our narrator? Male or female? Are they present or not?
How are characters developed in this story (what literary device[s] are used? How thorough of
an impression do you get of them? Why arent we given names? Is this intentional what if we
were given names?
Do you connect to one more strongly to one character than the others? Why?
Is the story as simple as it seems on the surface? What is the effect of this? Is this intentional?
Why the soldier and the girl? What purpose do they play in the story? Are they really
characters, or do they fall into another category?
What part does the caf play? Is it just a setting, or something more?
Why the emphasis on light and things being well lit?
Why does the old man sit in the shade when it is clearly night? Why drink in public, but sit
removed in the shadows?
Aside from covering a period of time, is there any other quality of Plot?
What can we make of the Older Waiters comment about insomnia at the end?
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Date: Monday, January 12, 2015

Title: The Iceberg Theory Theory of omission
Objectives/Learning Targets:
Define the Iceberg theory (theory of omission) and determine its effect in A Clean, Welllighted Place
Students will be able to explain the theory of omission and how it contributes to or
detracts from a piece of writing.
Standards:
1.1.f - Select appropriate technical or specialized language.
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SL.11-12.1c)
2.2.d - Use semantic cues, signal words, and transitions to identify text structures (such as
critique, proposition/support, inductive/deductive) and to summarize central ideas and supporting
details.
3.2.a - Articulate a position through a sophisticated claim or thesis statement and advance it
using evidence, examples, and counterarguments.
3.2.f - Support judgments with substantial evidence and purposeful elaboration.
Materials:
Teacher White board, copy of A Clean, Well-Lighted Place, Quotes from Hemingway and Poe,
inquiry questions
Students Paper, Writing utensil, Copy of A Clean, Well-lighted Place
Procedures:
8:00 8:10: B-fast
8:10 8:15 Address any lingering questions about A Clean, Well-lighted Place
8:15 8:30 Present the Iceberg theory (the theory of omission) include quotes from
Hemingway and Poe
8:30 8:50 Examine A Clean, Well-lighted Place for omission
8:50 9:05 Students write a short essay response to What major parts of the story seem to
have been omitted and does this omission strengthen or weaken the story? Explain your
answer.
Assessment: Student responses will be assessed for understanding of the theory of omission by
identifying instances of missing or limited information in the story. Too, they will be used as an
informal assessment gauging student writing and reasoning abilities. Work will be checked for
completion and used for participation points for the day.
Modifications/Adaptations: No modifications to this lesson are deemed necessary

assessment activity should allow for all students to complete it successfully. If necessary,
provide further clarification of question and terms to students who require it.
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Reflection: The lesson went smoothly. The majority of students seem to grasp the concept of
omission and were able to identify it at work in the story. Some students are demonstrating
difficulty at getting below surface-level meaning of texts it needs to be reinforced that stories
are vehicles for discussing individual opinions and universal truths. On reading student
responses, it is evident there is a wide spectrum of writing ability in the class. While some
students are at and exceeding grade-level expectations, a good portion are well below. I will
address this on an individual basis by providing substantial feedback on written work. Too, the
handwriting of several students is nearly illegible I will make a note to mention the importance
of clear handwriting when submitting written work. Overall, the lesson seemed successful in
the future it may be good to have a graphic organizer depicting an iceberg with surface and subsurface parts distinguished that students may fill in with what parts of a story are presented on
the surface and what they indicate lies beneath the surface. This would most certainly aid visual
learners.
Additional Materials
Quotes:
Hemingway on omission: "You could omit anything if you knew that you omitted and the
omitted part would strengthen the story and make people feel something more than they
understood."
Poe: In the whole composition there should be no word written of which the tendency, direct or
indirect, is not to one pre-established design.
Inquiry Questions:
How does the theory of omission work with Hemingways position on truth in his writing?
Is the iceberg theory a universal truth? Is there always something below the surface?
If truth is what is below the surface, can we ever know it with any certainty? Is truth ultimately
subjective?
Does this theory conflict with the purpose of language to convey meaning?
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Title: Poe and the short story form
Objectives:
Introduce Poe and his role/impact in the shaping of modern short stories
Define key concepts prior to reading William Wilson
Students will be able to explain Poes defining theories on the short story form
Students will be able to describe the Doppelgnger as a reoccurring theme across a
range of literary works.
Standards:
written work.
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2.2.c - Use reading and note-taking strategies (outlining, mapping systems, skimming, scanning,
key word search) to organize information and make connections within and across informational
texts
Materials:
Teacher White board, handouts on Poe and Doppelgnger, Copy of William Wilson (time
permitting)
Students Paper, writing utensil, handouts on Poe and Doppelgnger, copy of William Wilson
(time permitting)
Procedures:
8:00 8:10 Breakfast
8:10 8:30 Discuss Poe and his theory on the short story students follow along on their
handouts making notes as needed.
8:30 8:50 Explore handout on Doppelgnger engage class in discussion as an anticipatory
activity for reading.
8:50 9:05 Begin reading William Wilson (time permitting) or students write responses on
how Poes theory fits with our study of the form thus far.
Assessment: Informal assessment will occur throughout the lesson based on teacher observation
and student questions and responses. Depending on time, written responses may be collected
and assessed for students ability to synthesize Poes theories with those we have been
discussing. Assessment will account for thoroughness as well as depth of reasoning. Writing
will continued to be assessed as well looking for improvements in grammar based on earlier
feedback given.
Modifications/Adaptations: Modifications to this lesson are anticipated and will be

implemented as found necessary. These may likely include elaboration and clarification of terms
and ideas presented in the handouts.
Reflection: The lesson went well with limited need for elaboration and clarification. Students
all at least recognized the name Poe, and expressed some familiarity with his work from previous
classes. I decided to forgo having students complete the exit ticket writing for today to begin
reading the story. As it is a longer story and the language is highly elevated and formal I
anticipated reading will go slowly as defining language and sentence of the structure of the text
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will likely prove time consuming. Students continue to be largely engaged with the class and I
get the impression that they are accepting me as a competent and serious teacher. It is clear that
some of the students are not fans of reading, but I think that I will be able to continue to find text
that they will find if not enjoyable, at least okay and tolerable. But I hope that I will be able to
convince reluctant readers that reading can be enjoyable and that there are books and stories out
there that appeal to everyone. I continue to recognize that the students are largely not
accustomed to being truly challenged and self-doubt in their abilities is still a hurdle to
overcome. I will continue to reinforce that are demonstrating that they are highly capable with
the material despite how they might view themselves.
Included Daily Materials

Poe Handout:
Edgar Allan Poe and the Short Story:

Any time you deal with rules for the short story, inevitably, youve got to consider Edgar Allan
Poe. It was he who in 1842 virtually invented the genre as we know it today, taking it from the
earlier form, the tale, and defining what makes a good story tick in his review of Nathaniel
Hawthornes Twice-Told Tales. While experienced writers break Poes rules as often as they do
anyone elses, knowledge of these rules is fundamental to any beginning short story career.
Briefly, Poe said that a short story should:
1. be able to be read in one sitting. Poe defined this as being from one-half hour to one or two
hours. Nowadays, with television, radio, playstations and Ipod for alternative entertainment, this
may seem like a long time. But the one sitting rule is still a good one, even if that one sitting is
five minutes.
2. strive for unity of effect. Poe believed the aim of the short story was to create a mood, an
ambience, or as he called it, an effect. The effect Poe himself often sought to create was terror
or horror. While many writers today completely ignore this rule, you may notice in reading short
stories a single effect--nostalgia, sadness, elation, whatever.
3. begin with the first sentence. Obviously. But it means more than that. Poe insisted that
the effect should be created from the very first line. His best short stories, such as The Tell-tale
Heart, attempt to create this effect from line one: True--nervous--very, very dreadfully
nervous I had been and still am; but why will you say that I am mad? The disease had
sharpened my senses, not dulled them. Above all was the sense of hearing acute. I heard all
things in the heaven and in the earth. I heard many things in hell. How then, am I mad? Well,
this fella does seem to be one can short of a six-pack. And we know it from line one.
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4. have nothing in it that detracts from the design. The story should lead directly and
inevitably to the conclusion without excess or digressive material. Get to the point and stay
there.
5. aim for truth. Not truth, literally. That is, you can still include events that might not literally
occur. Lord knows Poe did. He wrote all sorts of wild stories, and so can you. But he believed
that the story should remain true to the way people really act in a given situation, true to the
human heart.
6. stress imagination, invention, creation and originality.
Its no secret that Poes emphasis on effect is no longer always the driving force in the short
story. Contemporary writers have turned their rules every which way but loose. But dont forget
these concepts as you begin to read the great short stories in our unit.
Doppelgnger Handout:
Doppelgnger:
Doppelganger Definition
Doppelganger, German word meaning look-alike or double walker, originally meant a ghost or
shadow of a person but nowadays it simply refers to a person that is a look-alike of another person.
Types of Doppelganger
In literature, doppelganger is usually shaped as a twin, shadow or a mirror image of a protagonist. It refers
to a character who physically resembles the protagonist and may have the same name as well. Several
types of doppelganger can be spotted in world literature. It may take the form of an evil twin, not
known to the actual person, who confuses people related to that original person. Besides, it may be
figured as one person existing in two different places at the same time. Sometimes, a doppelganger is a
persons past or future self. In some cases, it may simply be a persons look alike.
Doppelganger in Folklore
In traditional folklore, doppelganger is a malicious and evil character having no shadow or reflection. It
troubles and harms its counterpart by putting bad thoughts and ideas in his or her head. In some cultures,
seeing ones doppelganger is bad luck and is often a sign of serious illness or approaching death.
Doppelganger Examples in Literature
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Let us see some Doppelganger examples and their role in literature:
Example #1
The ghost of Hamlets father in Shakespeares Hamlet is an example of Doppelganger. The idea of
getting revenge is put in Hamlets mind by the apparition of his father who tells him that he was
murdered. The use of a doppelganger helps Shakespeare to set up the plot of his play that revolves around
the theme of revenge.
Example #2
William Wilson, a short story by Edgar Allan Poe follows the theme of doppelganger. William, the
protagonist, meets another boy in school who had the same name and looked surprisingly like him. He
dressed and even walked like him. The only difference between them was that the doppelganger of
William could only talk in a whisper. The doppelganger haunts William all his life. Worn out by
interference from his double in his affairs, William stabs him only to find in the mirror that he has stabbed
himself:
In me didst thou existand, in my death, see by this image, which is thine own, how utterly thou hast
murdered thyself.
He hears the voice of his rival as if it was his own.
Example #3
Joseph Conrad uses a doppelganger theme in his short story The Secret Sharer. In the story, Laggatt,
ex-skipper of a ship, acts as a doppelganger of The Captain. The Captain discovers Laggatt
swimming in the sea naked. He helps him come on board and gives him his clothes to wear. Both have
similarities as well as dissimilarities. Laggatt who is full of calmness and self-confidence helps The
Captain to get rid of his uncertainty and undue apprehensions. In fact, Laggatt is other self of The
Captain that he has failed to discover until then.
Example #4
Robert Louis Stevenson explores the theme of doppelganger in his novel Dr. Jekyll and Mr. Hyde. Hyde
is an evil double of the honorable Dr. Jekyll. Jekyll creates Hyde by scientific experiments to prove his
statement:
man is not truly one, but truly two.
He means that the human soul is a mixture of evil and good and Hyde is the manifestation of the evil that
existed in Dr. Jekyll. As a respectable Victorian gentleman, Jekyll can never fulfill the evil desires
existing in him. Therefore, he separates his evil-self and gave him a separate identity.
Function of Doppelganger in Literature
A survey of Doppelganger examples leads one to conclude that this literary device serves a variety of
purposes in literature. It may be used to show the other self of a character that he or she has not
discovered yet. This other self could be the darker side of the character that troubles or the brighter side
that motivates. Hence, it helps writers to portray complex characters.
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Moreover, doppelganger gives rise to a conflict in a story. The doppelganger acts in a way that promises
dire consequences for the main character that puts in efforts to undo the actions of his double. Sometimes,
the conflict is an inner one where a character tries to understand himself by understanding his
doppelganger.

Title: William Wilson
Objectives:
Read and analyze William Wilson

Students will be able to recognize and indicate theories of the short story form at work in
the text.
Standards:
2.1.a - Analyze how an author's choices concerning how to structure specific parts of a text (e.g.,
the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution)
contribute to its overall structure and meaning as well as its aesthetic impact. (CCSS: RL.1112.5)
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2.1.g - By the end of grade 12, read and comprehend literature, including stories, dramas, and
poems, at the high end of the grades 11-CCR text complexity band independently and
proficiently. (CCSS: RL.11-12.10).
Materials:
Teacher Annotated copy of William Wilson
Students Copy of William Wilson, writing utensil for noting on text
Procedures:
8:00 8:10 Breakfast
8:10 8:55 Read aloud and analysis of William Wilson, students take notes and
underline/highlight text as we read.
8:55 9:05 Open the floor to student questions about the text.
Assessment: The entire day is dedicated to reading the text. Informal assessment will be done
through teacher observation as we read and discuss the text checking for: student ability to
understand the language of the text, basic comprehension of the story, and ability to identify
characteristics of form in the story. Assessment will help determine essential areas to revisit and
focus on as we continue the unit.
Modifications/Adaptations: It is expected that many students will struggle with the language
of the text. Time will be allotted to sufficiently address any and all confusion by defining terms
in simple, contemporary language.
Reflection: As expected, the reading and analysis of the text went very slowly. Many students
struggled significantly with the language of the text and much time was spent clarifying it. I will
make sure all future texts are more contemporary in their language and style. I am struggling
with the no homework policy of the school. It is difficult to accept having to spend an entire
class period reading a text (not to mention having to read it to them as otherwise they would not
read it at all), when if assigned to be read at home we could devote significantly more time to
discussion and exploration of the story. Regardless, this is school policy and I must adhere to it.
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To conserve space, the text of the story has not been included here.

Title: William Wilson continued
Objectives:
Complete reading of the story.

As a class, summarize and clarify the basic story (discussion)
Compare and contrast William Wilson and A Clean, Well-lighted Place.
Begin completing post-reading questions for William Wilson
Standards:
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2.2.e - Obtain and use information from text and text features (index, bold or italicized text,
subheadings, graphics) to answer questions, perform specific tasks, or identify and solve
problems.
3.3.a - Follow the conventions of standard English to write varied, strong, correct, complete
sentences.
Materials:
Teacher Copy of the text, white board
Students Copy of the text, post-reading questions sheet, writing utensil
Procedures:
8:00 8:10 Breakfast
8:10 8:35 Complete reading of William Wilson
8:35 8:45 As a class, summarize the story and discuss and analyze it in terms of form.
8:45 9:05 Students are issued and work on post-reading questions (pairs and small groups
permitted)
Assessment: Teacher will assess for understanding of the story during the discussion postreading. Students will be expected to summarize the story and identify the areas where it
demonstrates adherence to and deviation from the short story form as we have defined it.
Further and more detailed formative assessment will be conducted based on written responses to
the post-reading questions once they are completed at the close of the next class period.
Modifications/Adaptations: Due to the language of the story and the difficulty much of the
class has shown with reading and understanding it, guidance will be provided by the teacher as
the class summarizes the story with further clarification provided. With the option to work with
partners on the reading questions, it is anticipated that all students should be able to answer them
proficiently. Teacher will circulate to provide clarification where needed and check in on student
understanding.
Reflection: I have decided that all future stories must be able to be read in at most one full class
period. Regrettably, this will seriously limit our options with texts. Students largely continued
to struggle with the text and began exhibiting fatigue and frustration with it prior to finishing. I
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believe I lost a good portion of them nearing the end of the second day of reading. I will need to
ensure that texts are selected that will maintain student engagement. Too, it may be beneficial to
break up the reading, taking a break when dealing with longer more difficult stories. However, I
have reservations about doing so in the spirit of maintaining continuity over time I believe a
large portion of the class may not keep the story present in their minds if we break from it for an
entire day. I continue to struggle with the homework policy and short class periods it is
exceptionally difficulty to plan thorough and engaging lessons and activities with these
constraints. Too, attendance and tardiness are becoming an issue that must be addressed.

Post-reading questions for William Wilson:
Short Fiction
Name____________________________
William Wilson, By Edgar Allan Poe Post-reading questions:

1) Does the story meet the criteria that characterize a short story (limited, not fully
developed characters; limited span of time; singular or limited setting; a single, easily
contained plot; begins and ends abruptly, in medias res (in the middle of things)?
Explain your answer.
2) Does the story adhere to Poes claim that a story should contain no superfluous language
no words that do not guide the reader to a pre-determined effect? Explain/justify your
answer.
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3) What literary device or technique does Poe employ to depict and develop the characters
in the story? What is the effect of this choice for you as a reader?
4) Is the method of characterization essential to the impact and effect of the story?

Title: Poe and William Wilson
Objectives:
Complete and review answers to post-reading questions

Review theories on the short story form comparing traditional story qualities to modern
ones
Students will be able to define the difference between traditional and modern story
characteristics in appropriate language and providing evidence to support their claims.
Standards:
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1.1.c - Adapt speech to a variety of contexts and tasks, demonstrating a command of formal
English when indicated or appropriate. (CCSS: SL.11-12.6)
written work.
Materials:
Teacher White board, copy of William Wilson, copy of post-reading questions
Students Paper, writing utensil, copy of William Wilson and post-reading questions
Procedures:
8:00 8:10 Breakfast
8:10 8:25 Students finish work on post-reading questions
8:25 8:40 Review and discuss responses to questions as a class
8:40 8:55 Discussion and lecture on traditional vs. modern story characteristics present
analysis from lecture notes.
8:55 9:05 Students respond to exit ticket prompt: Describe how William Wilson demonstrates
qualities of both traditional and modern form.
Assessment: Question responses will be collected and assessed for both understanding of major
concepts as well as for increased improvement in writing ability. Feedback will be provided.
Assessment during discussion will also check for levels of understanding and reasoning. At this
point in the unit students should demonstrate a clear understanding of the major elements of the
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short story form and be able to identify them in a text and supply sufficient evidence and
reasoning to support their claims.
Modifications/Adaptations: This lesson is designed to meet the ability levels of the entire
class. Where appropriate terms will be simplified and clarified for students who lack the
necessary background knowledge. Students of all ability levels will benefit from the class
discussion as they will be able to check their own understanding and pose questions regarding
any material they find confusing.
Reflection: Today went well. Students greatly benefited from the guided analysis of the story
and presentation of traditional story structure. I need to find ways to diversify my instruction
and come up with activities that will engage all of the students. This is an area I struggle with
substantially. In the future, group work must be carefully monitored to ensure that all students
contribute many answers to the questions were exactly the same. I need to stress to the class
that when working with partners they must respond to questions in their own words. Tardiness
and absences continue to be an area of concern and frustration, and I am uncertain as to how to
correct this and instill the importance of being present and on time.

Lecture notes:
Analysis of the form and structure:
The story is not easily classifiable as traditional or modern.

o It appears to have a traditional plot structure (Figure 1 see below).
It appears to span a substantial period of time (at least several years).
We are given a great deal of specific info directing us how to think and
feel about the character(s) and the events we are told, not shown.
o It also has some clear qualities of modern short stories
Focus on a single character (or are there two?)
The emphasis is not on the plot, but rather on examining a singular quality
of a single character.
Attention to the Form and Craft supersedes the importance of the story
itself.
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o The setting makes categorization difficult in one sense, it takes place in a

number of European cities as well as in Egypt (although only mentioned in
passing), but in another sense it could be said that the entire story takes place in
the mind of the narrator.
o Due to the style of the language (elaborate and elevated high art), it is difficult
to say if there is or is not unnecessary wording in the story if it adheres to the
criteria of being economical and efficient.
Figure 1.

Title: William Wilson Web Quest
Objectives:
Deepen and expand understanding of how form is represented in a text
Students will be able to relate the components of form to stylistic and structural qualities
of a text.
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Standards:
2.2.b - Integrate and evaluate multiple sources of information presented in different media or
formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve
a problem. (CCSS: RI.11-12.7)
problems.
sentences.
4.2.a - Synthesize information to support a logical argument.
Materials:
Teacher Smart Board and computer, student handouts
Students Computer, web quest handout, writing utensil
Procedures:
8:00 8:10 Breakfast
8:10 8:15 Students get out laptops, teacher distributes web quest handout
8:15 8:20 On smart board, teacher guides students to online resource for the assignment:
https://prezi.com/wdvdj-cjuxn_/the-analysis-of-william-wilson-by-edgar-allen-poe/
8:20 9:00 Students work (independently or in pairs) to complete web quest; teacher circulates
to monitor progress and offer assistance where needed.
9:00 9:05 Students put computers away and prepare to end class.
Assessment: Once completed, responses to the questions will be assessed for the students
ability to explain how style and structure function with the qualities of form in a text. They will
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also be assessed on their ability to synthesize and transfer information and make inferences from
a text. This will constitute a dramatic step up in reasoning and critical thinking and will allow
me to reasonably determine which students have a thorough understanding of the material and
which need further practice and to what degree.
Modifications/Adaptations: Students who struggle with this increased level of thinking will
have the option to and benefit from working collaboratively. As needed, the teacher will supply
clarification and explanation of questions to students.
Reflection: This was a major leap forward and as a result there were several students who had
difficulty understanding and answering the questions. I have allotted 2 days to work on this
assignment, and it appears much of the class will require the full time to do so. The student
computers are incredibly slow to boot-up and in the future they will need to be started up
immediately at the beginning of class when the days activities require them. Too, serious
monitoring of students will be required when they are working on the computers. Many students
were consistently off task and on other websites while they were supposed to be working. It may
be necessary to forbid headphones while working to keep students from spending the bulk of
their time on YouTube and searching for music. Still, a good portion of the class worked
diligently and was on task the entire time. Although many were daunted by the increased
complexity of the assignment, all were active in seeking assistance when they required it and
demonstrated higher-level thinking in the questions they asked. Overall I am impressed with
how well they are doing in terms of rising to challenges.

Link to Presentation:
https://prezi.com/wdvdj-cjuxn_/the-analysis-of-william-wilson-by-edgar-allen-poe/
Web Quest Handout:
William Wilson Web Quest

Go to: https://prezi.com/wdvdj-cjuxn_/the-analysis-of-william-wilson-by-edgar-allen-poe/ and
answer the following questions based on the Prezi Presentation
1. Poe uses indirect characterization to depict the character of the narrator to the reader, how is this
technique characteristic of the short story form?
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2. From the analysis of Wilsons doppelgnger, is Wilsons doppelgnger considered to be a true second
character in the story? Do you agree with this? Why?
3. a) What are the three main thematic focuses the presentation claims are in the story?
b) Do you agree with this analysis? Why or why not?
c) Does the presence of multiple themes work with the Short Story Form as we have discussed it?
Why or why not?
4. The presentation gives an analysis of the school and its grounds that claims this part of the story is a
symbolic extension of the major themes of the story. Does this interpretation make this part of the story
essential or can it still be considered unnecessary excess and keep this from being a truly modern short
story?
5. After reading through the Techniques and Style section, explain how these qualities fit into the
definition (the defining characteristics) of the modern short story that we have been working with. Hint:
it does not address all of them.
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Title: William Wilson Web Quest (continued)
Objectives:
Finish web quest
Check in with students on grades, missing work, understanding of material
Learning targets same as and continued from previous day
Standards: (continued from Jan 22nd)
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problems.
sentences.
Materials:
Teacher - Laptop
Students Laptops, web quest handout, writing utensil
Procedures:
8:00 8:10 Breakfast
8:10 9:00 Students work on completing web quest. When finished they may use the period to
complete any missing work or read quietly. Teacher meets with students individually to discuss
grades, missing work, and check in on understanding of the material.
Assessment: Carried over from the 22nd - Once completed, responses to the questions will be
assessed for the students ability to explain how style and structure function with the qualities of
form in a text. They will also be assessed on their ability to synthesize and transfer information
and make inferences from a text. This will constitute a dramatic step up in reasoning and critical
thinking and will allow me to reasonably determine which students have a thorough
understanding of the material and which need further practice and to what degree.
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Modifications/Adaptations: Students who struggle with this increased level of thinking will
have the option to and benefit from working collaboratively. As needed, the teacher will supply
clarification and explanation of questions to students.
Reflection: Students worked much more diligently today following a brief talk on being on task
and proper use of class time. Still, a few students required redirecting more than once. Checkins went well. Students were all aware of the missing work and seemed to be keeping on top of
their standing as far as grades are concerned. I enjoyed the opportunity to spend a few minutes
one-on-one with them as for some it was my first chance to really do so. Though there remain
some areas of concern, overall I am pleased with the level of understanding and the progress the
students are demonstrating and they expressed similar feelings to me. There were the expected
percentage of students who expressed that they were enjoying the format, challenges, and
material of the class and those who expressed a general indifference. I truly appreciate the level
of honesty that is the norm at the school. Following conferences, I feel I have a much better
understanding of the students in the class. It was definitely a worthwhile use of the day.

Title: The Lottery anticipatory activities
Objectives:
Ignite student thinking about the upcoming reading of The Lottery

Students will use supplied information to make inferences and assumptions about Shirley
Jacksons The Lottery.
Standards:
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SL.11-12.1c)
Materials:
Teacher White board, discussion questions, Fun Facts handout, lottery tickets, box for
drawing of tickets, copy of The Lottery
Students Copy of The Lottery. No other materials required. Note taking materials if
desired.
Procedures:
8:00 8:10 Breakfast
8:10 8:25 Present discussion questions, students provide answers that are recorded on the
board.
8:25 8:45 Present selected Fun Facts about the story and the author to the class. Class
discusses topics of most interest.
8:45 8:50 Lottery Drawing similar to in the story, students draw lots from a box simulating
the events in the story. Students are informed that the winner will, after we read the story,
receive the same prize as the winner in the story.
8:50 9:05 Begin reading of story popcorn reading
Assessment: Simple, informal assessment will be done through teacher observation during the
anticipatory activity and discussions. Teacher will look for students ability to use limited
information to make inferences and assumptions about a text.
Modifications/Adaptations: It is not expected that any modifications or adaptations will be

necessary for this lesson/activity.
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Reflection: The days activities went extremely well. Aside from a single student, none of the
class was familiar with the story so it made the activities all that much more fun. The entire class
was highly engaged and demonstrated interest and anticipation for beginning the story. Students
really seemed to enjoy the relaxed tone of the class today, and a number who are consistently
quiet during discussions eagerly chimed in today. This was a lot to prepare for a single class
period, but I feel the time and effort was well worth it. Yet I realize that doing this level of
prepping on a daily basis may prove impractical over the long run.

Anticipatory/discussion questions:
What is the first word that comes to your mind when I say lottery?
What are some reasons that people, towns, cities, states, etc. have lotteries?
What are some things that can be won or gained from a lottery (or raffle)?
What place do traditions hold in our lives? What obligations to we have to upholding
traditions?
Fun Facts Handout:

Fun Facts About Shirley Jacksons The Lottery
On June 26, 1948, subscribers to The New Yorker received a new issue of the magazine in the mail. There
was nothing to outwardly indicate that it would be any different, or any more special, than any other
issue. But inside was a story that editors at the magazine would, more than half a century later, call
perhaps the most controversial short story The New Yorker has ever published: Shirley Jacksons The
Lottery.
Though now a classic, the storyabout a small New England village whose residents follow an annual
rite in which they draw slips of paper until, finally, one of them is selected to be stoned to deathcaused
an immediate outcry when it was published, and gave Jackson literary notoriety. It was not my first
published story, nor my last, the writer recounted in a 1960 lecture, but I have been assured over and
over that if it had been the only story I ever wrote and published, there would still be people who would
not forget my name. Here are a few things you might not have known about the story.
1. WRITING IT WAS A SNAP.

Jackson, who lived in North Bennington, Vermont, wrote the story on a warm June day after running
errands. She remembered later that the idea had come to me while I was pushing my daughter up the hill
in her strollerit was, as I say, a warm morning, and the hill was steep, and beside my daughter, the
stroller held the days groceriesand perhaps the effort of that last 50 yards up the hill put an edge to the
story.
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The writing came easily; Jackson dashed out the story in under two hours, making only two minor
corrections when she read it laterI felt strongly that I didnt want to fuss with itand sent it to her
agent the next day. Though her agent didnt care for "The Lottery," she sent it off to The New Yorker
anyway, telling Jackson in a note that it was her job to sell it, not like it.
2. WHEN THE STORY CAME IN, THE DECISION TO PUBLISH IT WAS NEARLY
UNANIMOUS.
According to Ruth Franklin, who is writing a new biography about Jackson, there was only one exception
editor William Maxwell, who said the story was contrived and heavy-handed. The rest, though,
were in agreement. Brendan Gill, a young staffer at the time, would later say that "The Lottery" was one
of the best storiestwo or three or four bestthat the magazine ever printed.
3. BUT THEY WERE PUZZLED BY THE STORY.
Even Harold Ross, editor of the magazine at the time, copped to not understanding it. Jackson later
recalled that the magazines fiction editor asked if she had an interpretation of the story, telling her that
Ross was not altogether sure that he understood the story, and asked if I cared to enlarge about its
meaning. I said no. When the editor asked if there was something the magazine should tell people who
might write in or call, Jackson again responded in the negative, saying, It was just a story that I wrote.
4. THE EDITORS ASKED TO MAKE A MINOR TWEAK.
The editors did ask for permission to make one small change: They wanted to alter the date in the storys
opening so it coincided with the date on the new issueJune 27. Jackson said that was fine.
5. THE BACKLASH WAS INSTANT.
The Lottery appeared three weeks after Jacksons agent had submitted it, and there was instant
controversy: Hundreds of readers cancelled their subscriptions and wrote letters expressing their rage and
confusion about the story. In one such letter, Miriam Friend, a librarian-turned-housewife, wrote I
frankly confess to being completely baffled by Shirley Jacksons The Lottery. Will you please send us a
brief explanation before my husband and I scratch right through our scalps trying to fathom it? Others
called the story outrageous, gruesome, and utterly pointless. I will never buy The New Yorker
again, one reader from Massachusetts wrote. I resent being tricked into reading perverted stories like
The Lottery. There were phone calls, too, though The New Yorker didnt keep a record of what was
said, or how many calls came in.
6. JACKSON GOT A LOT OF HATE MAIL...
Jackson later said that June 26, 1948 was the last time for months I was to pick up the mail without an
active feeling of panic. The New Yorker forwarded the mail they received about her storysometimes as
many as 10 to 12 letters a daywhich, according to Jackson, came in three main flavors: bewilderment,
speculation, and plain old-fashioned abuse. Jackson was forced to switch to the biggest possible post
office box; she could no longer make conversation with the postmaster, who wouldnt speak to her.
Shortly after the story was published, a friend sent Jackson a note, saying, Heard a man talking about a
story of yours on the bus this morning. Very exciting. I wanted to tell him I knew the author, but after I
heard what he was saying, I decided Id better not.
7. EVEN FROM HER PARENTS.
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Her mother wrote to her that Dad and I did not care at all for your story in The New Yorker [I]t does
seem, dear, that this gloomy kind of story is what all you young people think about these days. Why don't
you write something to cheer people up?
It had simply never occurred to me that these millions and millions of people might be so far from being
uplifted that they would sit down and write me letters I was downright scared to open, Jackson said later.
[O]f the three-hundred-odd letters that I received that summer I can count only thirteen that spoke kindly
to me, and they were mostly from friends.
Jackson kept all of the letters, kind and not-so-kind, and theyre currently among her papers at the Library
of Congress.
8. SOME PEOPLE THOUGHT THE STORY WAS NON-FICTION.
Jackson received a number of letters asking her where these rituals took placeand if they could go
watch them. I have read of some queer cults in my time, but this one bothers me, wrote one person from
Los Angeles. Was this group of people perhaps a settlement descended from early English colonists?
And were they continuing a Druid rite to assure good crops? a reader from Texas asked. Im hoping
youll find time to give me further details about the bizarre custom the story describes, where it occurs,
who practices it, and why, someone from Georgia requested.
Franklin noted that among those fooled were Stirling Silliphant, a producer at Twentieth Century Fox
(All of us here have been grimly moved by Shirley Jacksons story. Was it purely an imaginative
flight, or do such tribunal rituals still exist and, if so, where?), and Harvard sociology professor Nahum
Medalia (It is a wonderful story, and it kept me very cold on the hot morning when I read it.).
It might seem strange that so many people thought the story was factual, but, as Franklin notes, at the
time The New Yorker did not designate its stories as fact or fiction, and the casuals, or humorous essays,
were generally understood as falling somewhere in between.
9. THE NEW YORKER HAD A BOILERPLATE RESPONSE TO LETTERS ABOUT "THE
LOTTERY."
It went something like this: Miss Jacksons story can be interpreted in half a dozen different ways. Its
just a fable. She has chosen a nameless little village to show, in microcosm, how the forces of
belligerence, persecution, and vindictiveness are, in mankind, endless and traditional and that their targets
are chosen without reason.
10. JACKSON DID WEIGH IN ON THE LOTTERYS MEANING.
Explaining just what I had hoped the story to say is very difficult, she wrote in the San Francisco
Chronicle in July 1948. I suppose, I hoped, by setting a particularly brutal ancient rite in the present and
in my own village to shock the story's readers with a graphic dramatization of the pointless violence and
general inhumanity in their own lives.
11. THE STORY HAS BEEN ADAPTED MANY TIMES.
Though it's most famous for its place on high school reading lists, The Lottery has also been adapted
into a number of formats, including a radio broadcast in 1951, a ballet in 1953, a short film in 1969, and a
1996 TV movie starring Keri Russel that followed the son of the storys murdered character. "The
Lottery" has also been featured on The Simpsons.
Daily Lesson Plan

Title: The Lottery
Objectives:
Read and analyze The Lottery
Students will be able to make inferences about and extract information from the story.
Students will be able to analyze and discuss the text in terms of form and structure and
how they contribute to the impact of the story.
Standards:
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details
Materials:
Teacher Copy of The Lottery
Students Copy of The Lottery, post-reading questions, writing utensil
Procedures:
8:00 8:10 Breakfast
8:10 8:30 Popcorn reading of the story
8:30 8:40 Class discussion of the story examining how it exhibits elements of the short story
form.
8:40 9:05 Students work (independently or with partners) to answer the post-reading
questions.
Assessment: Assessment during discussion will be informal and done through observation.
Teacher will assess for understanding of the story, ability to make inferences from the text, and
ability to cite or refer to relevant portion of the text to support analysis.
Once collected, the question responses will be assessed for reading comprehension and reasoning
and inference making skills. Attention to detail will also be assessed as many of the questions
have multiple parts requiring connected but separate answers.
Modifications/Adaptations: Although no modifications are anticipated, the teacher will

circulate to clarify and explain any questions the students may find confusing. All students are
expected to be able to complete the reading questions with a high level of success.
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Reflection: Popcorn reading went well and nearly all students present participated. I am torn
about requiring certain students to read aloud or speak in discussion as I am aware that some
have accommodations that exclude them from such requirements. Too, I understand that some
people are exceptionally self-conscious about reading aloud in class, and to force it can create
unfavorable tension between teacher and student. Some students still demonstrate weakness in
seeing below the surface level of a story. At this level and point in the year as well as the unit I
find this fairly concerning and I am not sure exactly how to address it without holding the vast
majority of the class back. I think I can make progress in this area working one on one with the
select students, but I will need to find the time to do so and time is always in too short of
supply. I have begun to find my flow in terms of managing time and I feel I am adjusting to the
no homework policy, but it is still a hurdle at times. Overall the class seemed to both understand
and enjoy the story (it was hard to end the discussion and get them to work after reading it), and I
feel comfortable moving on tomorrow to incorporating the TWIST analysis model to our studies.

Post-reading Questions:
Post-reading Questions The Lottery by Shirley Jackson

Using complete sentences, answer the following questions on a separate sheet of paper
1. Why has Jackson chosen common people for her characters? Could she have chosen characters from
other levels of sophistication with the same effect? What is the irony of the tone of this story?
2. What seems to have been the original purpose of the lottery? What do people believe about it?
3. Is it important that the original paraphernalia for the lottery had been lost? What do you suppose the
original ceremony was like? Why have some of the villages given up this practice? Why hasn't this one?
4. What is the significance of Tessie's final scream, "It isn't fair, it isn't right"? What aspect of the lottery
does she explicitly challenge; what aspect goes unquestioned?
5. This is a different sort of story when you read it for the second time. What elements (such as Mrs.
Hutchinson's attempt to have her daughter, Eva, draw with the family) might take on a different meaning
the second time through?
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6. Some critics insist that the story has an added symbolic meaning. Do you agree? If so, what is Shirley
Jackson trying to tell us about ourselves? (Hint: Consider that this story was written during the height of
the rise of Communism and the Soviet Union.)
7. Is the lottery a collective act of murder? Is it morally justified? Is tradition sufficient justification for
such actions? How would you respond to cultures that are different from ours that perform "strange"
rituals?
8. Describe the point of view of the story. How does the point of view affect what we know about the
situation? How does it preserve the story's suspense?
9. Jackson is quoted as saying: It was just a story that I wrote. Does this negate or refute any analysis
of it we can come up with? Is the meaning of a story the creation of the author or the reader or something
else?
10. Citing (or referencing) specific examples from the text, describe how this story meets the criteria of
being a Modern Short Story. (Note that it may not follow them strictly).
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Teacher: Cory Neil
Course: Short Fiction
Date: Thursday, January 29, 2015
Objective: Students will be able to analyze a work of literature (short story), and
explain how the different elements of tone, word choice, imagery, style, and theme
contribute to the effectiveness and quality of the writing and work within the
structure of the form.
Materials:
Teacher Copy of The Lottery, TWIST instructional handout, sample
completed template, and blank template
Students Copy of The Lottery, TWIST instructional handout, sample
completed template, and blank template, writing utensil.
Standards Covered: RWC Grade 12
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2.1.a - Analyze how an author's choices concerning how to structure specific

parts of a text (e.g., the choice of where to begin or end a story, the choice to
provide a comedic or tragic resolution) contribute to its overall structure and
meaning as well as its aesthetic impact. (CCSS: RL.11-12.5)
2.1.e - Evaluate how literary components impact meaning (such as tone,
symbolism, irony, extended metaphor, satire, hyperbole)
Time
8:00 8:10
8:10 8:12
8:12
8:20
8:20 8:40
8:40
8:45
(roughly)
Teacher Will Do
Prepare for lesson by taking
attendance, getting student
handouts organized, and
informing class of our
beginning promptly at 8:10
following their breakfast time.
Distribute TWIST analysis
instructional handout,
completed sample, blank
template, and introduce the
lesson.
Lead the class in an
examination of TWIST
analysis format and its
elements checking for student
understanding of the different
terms.
Students Will Do
Breakfast Students eat and
prepare to begin class promptly
at 8:10.
Guided practice: Facilitate

analysis and discussion as we
TWIST the story The Lottery
together as a class.
Participate in whole-class
practice of applying TWIST
analysis to the story The
Lottery we finished reading
Tuesday. Students will fill out
their own graphic organizers as
we work.
Students pose any questions
they have to gain a full and
personal understanding of the
TWIST method and its
Address any lingering

questions about the TWIST
method of analysis and its
various elements
Review handouts as they listen

to teacher overview of the days
schedule and intro to the
TWIST format of analysis
Follow along on their handouts
and engage in discussion of the
various literary elements of
tone, word choice, imagery,
style, and theme as we define
these terms and their role in
literature as a class.
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elements/terms.
8:45 9:05
9:05
Close lesson by informing

students that they will be
applying the TWIST analysis
to a story of their own
choosing for their upcoming
project.
Inform students that they have
the remainder of the period to
finish the post-reading
questions on The Lottery
they began on Tuesday.
Circulate and monitor student
work, assisting as necessary.
Clean up classroom and begin
preparing for the next class.
Students work on finishing the

post-reading questions for The
Lottery. Those who have
already finished or finish early
may begin looking for a story
for the upcoming project on
www.eastoftheweb.com.
Turn in finished question sheet

and TWIST practice analysis on
The Lottery and depart for
next class.
Assessment: (Success Criteria) How will you know the students met the
objective? Students will be assessed for understanding informally through their
contributions to the in-class discussion, and formally through their completed
TWIST handouts. Understanding will be evident based on students ability to
determine the tone, comment on the authors word choice, identify instances of
imagery, determine the style, and identify the theme of The Lottery and provide
textual evidence to support their claims.
Reflection: Although dealing with some very abstract and difficult concepts, the
class did well with this lesson. The guided practice with The Lottery proved
highly successful, and the class seemed largely engaged throughout. Purely from
observation, I can tell that we will need to explore each element of the TWIST in
depth, as the concepts (which at a 21th grade level I would have assumed were at
least recognizable) seemed to have been completely unheard of by an alarming
majority of the students. Even the advanced students demonstrated difficulty
defining them initially. However, by the end of the lesson, I felt comfortable that
Daily Lesson Plan
the beginnings of understanding were in place sufficiently to include a TWIST

analysis as part of the final project for the unit. In future lessons when we dissect
each component, I will have to be sure to simplify the technical language so that
students are not put off simply from the vocabulary.

Title: Work Day
Objectives: The day is designated as a work day for students.

Finish reading questions for The Lottery
Complete any missing work
Standards: No Standards addressed today.
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Materials:
Students - The Lottery post-reading questions, any other necessary material to complete
missing assignments.
Procedures:
8:00 8:10 Breakfast
8:10 9:05 Students work on finishing reading questions for The Lottery as well as any
other missing or incomplete work. If they finish all work, they may read quietly.
Assessment: No assessment today.

Once collected, the question responses will be assessed for reading comprehension and reasoning
and inference making skills. Attention to detail will also be assessed as many of the questions
have multiple parts requiring connected but separate answers.
Modifications/Adaptations: Teacher will be available to assist students in any way they need.
Reflection: The entire class worked diligently on the reading questions with most of them
getting them completed. No one who needed to was able to finish in time to begin work on
missing assignments, but I had anticipated that would be the case. I have come to recognize that
I have a strong report with the class and I seem to have earned both their trust and respect when
I ask them to do something they typically get right to it. I do get frustrated however that I have
to repeatedly remind certain students to stay on task. By now I would have hoped that that
expectation would have been clear to everyone.
Daily Lesson Plan
Date: February 2, 2015

Title: Independent Short Story Analysis Project Introduction (day 1 of 4)
Objectives:
Students will select a short story of their own choosing and conduct an close reading and
thorough analysis of it.
Students will synthesize all that they have learned during the unit to conduct an in-depth
analysis of a short story and present it to the class.
Standards: With this project, students will demonstrate proficiency in the following standards
Daily Lesson Plan
1.1.e - Choose specific words and word order for intended effect and meaning.
written work.
2.2.a - Determine an author's point of view or purpose in a text in which the rhetoric is
particularly effective, analyzing how style and content contribute to the power, persuasiveness or
beauty of the text. (CCSS: RI.11-12.6)
details.
problems.
3.1.a - Use a range of elaboration techniques (such as questioning, comparing, connecting,
interpreting, analyzing, or describing) to establish and express point of view and theme.
Daily Lesson Plan
3.2.b - Select appropriate and relevant information (excluding extraneous details) to set context.
sentences.
Materials:
Teacher Project instruction handout, computer, Smart Board
Students Project instruction handout, laptops, writing utensils
Procedures:
8:00 - 8:10 Breakfast
8:10 8:15 Distribute instructions (handout), students get out laptops and log in
8:15 8:25 Read through the instructions thoroughly highlighting key points and addressing
student questions.
8:25 8:35 On the smart board, guide students to www.eastoftheweb.com and demonstrate how
to use search filters to meet assignment criteria.
8:35 9:00 Students search for and select a story. Once approved, they will begin initial
readings of their stories. Teacher circulates, helping students and approving story selections.
9:00 9:05 Students log off and return computers to cabinet.
Assessment: At this stage no assessment is taking place. Once completed, the students projects
will be assessed for proficiency in the above listed standards. It is anticipated that the students
are well prepared for the assignment and should complete it with a high rate of success. The
assignment includes a TWIST analysis, and at this point this aspect will serve as a formative
assessment to see which parts of it will require further attention and to what degree. It will
however be scored for completion and count towards their overall grade.
Daily Lesson Plan
Modifications/Adaptations: No modifications have been planned for this lesson or the larger
project. If necessary, accommodations and modifications will be considered and made on an
individual basis.
Reflection: Despite the scope of the assignment, students were generally excited about it. They
had relatively few questions concerning the instructions, and eagerly began looking for stories
when they were directed to do so. Excitement was so high, I had to repeatedly quiet them down
and get them back on task as they discussed and shared stories they were finding with one
another. I was thrilled to see such enthusiasm. There are a few students who I anticipate will get
somewhat overwhelmed with the assignment, but I am prepared to walk them through it. Again,
after dealing with slow and finicky technology, we lost a bit of time I keep forgetting how slow
the student computers are. Over all, I think this project will go well so long as I am able to keep
the students on task as they work on the computers. I plan on restricting headphone use while
they work on the assignment unless they are using their own iPod or phone. I am excited to read
the stories they selected as well as their finished products. I think they will feel a deep sense of
reward once they complete it and realize the scope of the challenges they have been presented
with and bested in this unit.

Assignment Sheet:
Independent Short Story Analysis & Presentation

For this assignment you will read and analyze a short story of your own choosing,
after which you will present your story and analysis to the class.
Directions:
Go to www.eastoftheweb.com and select a story.
Guidelines:
You may choose either a Classic or Contemporary Story
(contemporary stories will likely be more relatable and
interesting)
Select a story from any of the categories except Childrens
Daily Lesson Plan
Stories must be at least 3 pages in length.

Read your story and prepare a summary to include in your presentation.
Your summary need only be a single paragraph it is not a
paraphrasing of the story, but a brief synopsis. Sell your classmates on
reading it themselves! It should include:
The author and title
Who and what the story is about
When and where the story takes place
Re-read your story and analyze it for the various elements listed below.
TWIST (Tone, Word choice, Imagery, Style, Theme) Use the
template as your guide, using a separate sheet of paper if you need
more room.
Structure (How is the story constructed?)
Form (How strictly does it conform to the elements of the Short Story
Form?)
Point of view (1st or 3rd person what effect does this decision by the
author have on the impact of the story for you as a reader?)
Write up your analysis in essay form including the elements from the
TWIST handout as well as the additional elements listed above.
Conclude with a comment expressing your opinion on how well or
how poorly the elements work together is it a quality story or a
piece of trash?
Formally present your summary and analysis to the class.
Scoring:
Element
Points
Select and read

a story
/5
Summary
/10
Daily Lesson Plan
TWIST Form
/10
Essay Analysis
/15
Presentation
/10
Total:
/50
Comments:
Title: Summary Mini-Lesson / Analysis Project work
Objectives:
Students will write a focused summary of their chosen short story.
Standards:
Daily Lesson Plan
details.
Materials:
Teacher White board
Students Computers, short story selections, writing utensil, paper
Procedures:
8:00 8:10 Breakfast
8:10 8:30 Guided practice writing a summary. Teacher models summary writing for A
Clean, Well-lighted Place, focusing on brevity and identification of important story components
to include. Procedures and summary are presented on the white board.
8:30 9:00 Students read their selected stories and write drafts of summaries and email them to
the teacher for review.
9:00 9:05 Students shut down computers and return them to the cabinet.
Assessment: Summaries will be assessed for focus on central ideas and conciseness. Feedback
will be given and summaries returned to the students. Teacher will also evaluate for grammar
and syntax.
Modifications/Adaptations: Students who struggle with the lesson will be given individual
assistance as needed. Teacher will help them to identify the central idea of their story and shape
their summary.
Reflection: I was not in class to deliver this lesson personally as I was called away suddenly for
a family emergency. From what was reported, the lesson went fairly well, but a noticeable
number of students were still struggling with isolating central ideas and formulating tight
summaries free of unnecessary details. This is an area that will need further attention.
Daily Lesson Plan

Title: Independent Story Analysis Project (day 3/4)
Objectives: Student work day Students will revise and produce a finalized polished summary of their story.
Students will begin working on the analysis portion of the project
written work.
Daily Lesson Plan
details.
problems.
sentences.
Materials:
Students Laptops, story selections, assignment sheet
Procedures:
8:00 8:10 Breakfast
8:10 9:00 Students work on their analysis projects. Students should use their time effectively
to produce a final draft of the summary and make significant progress on their formal analysis.
Assessment: Summaries will be emailed to the teacher when complete and assessed.
Unacceptable summaries will be returned with notes to be re-done. This is an informal formative
assessment and will not be graded.
Daily Lesson Plan
Modifications/Adaptations: Modifications, though not anticipated, will be made on an

individual basis depending on the needs of the specific student.
Reflection: Again, I was not present for the day due to family emergency, but I was informed
that students worked diligently with minimal redirection necessary. With a few expected
exceptions, students were reported to understand the directions of the assignment well enough to
need minimal support. Over all I am satisfied with the reports on student progress and the
project is moving along smoother than expected.
Daily Lesson Plan

Title: Independent Story Analysis (day 4/4)
Objectives: Student work day
Students are expected to complete their written analysis today.

Time permitting, students will begin presenting their work to the class.
Standards: No standards addressed today. Same standards apply for the finished project.
Materials:
Students Laptops, selected stories, assignment sheet
Procedures:
8:00 8:10 Breakfast
8:00 9:00 Students work on completing their projects. (Begin presentations if able)
9:00 9:05 Students shut down computers and return them to the cart.
Assessment:
No assessment for today. Assessment for final project remains the same.
Modifications/Adaptations: Teacher will modify assignment and provide assistance as deemed

necessary on an individual basis.
Reflection: Still absent for a family emergency, I continue to be informed that students (who
have been present) are working diligently to complete their projects. One student with
accommodations will, as expected, require more time to complete his project but this had already
been accounted for. Absences and tardiness still prove to be a problem and have put a measure
of students significantly behind schedule. As we will be moving on Tuesday to the next unit, I
can allot no more class time to working on this, and they will have to finds the time to make up
the work outside of class. Projects will still be accepted at full credit. I deeply regret being
Daily Lesson Plan
absent during this week as this was my project and I feel I should have been present while the
class worked on it. However, my obligations to my family come first and I know the students
and Connie understand. In fact, I received several messages confirming so during my absence.
Daily Lesson Plan

Title: Independent Story Analysis Project presentations.
Objectives:
Students present their final projects to the class.
Students will be able to deliver a formal presentation to the class, providing a summary
and brief analysis of their selected stories.
Final Projects to be turned in
written work.
Daily Lesson Plan
details.
problems.
sentences.
Materials:
Teacher Scoring sheet for student projects
Students Final project complete with assignment and scoring sheets.
Procedures:
8:00 8:10 Breakfast
8:10 9:05 Students deliver 3 minute presentations of their work complete with a summary of
the story and brief comment on their analysis.
Daily Lesson Plan
Assessment: Students will be assessed for proficiency in all of the above listed standards and
graded according to the scoring sheet accompanying the assignment. Students will be deemed
proficient if they meet all the listed criteria on the assignment, and provide a thorough and
polished academic paper with sufficient meaningful textual evidence to support their analysis.
Modifications/Adaptations: Students may opt to deliver their presentations individually to

Connie and myself during planning 6th period.
Reflection: Overall I was very impressed with the work submitted by the students. With a few
exceptions, the class demonstrated that they have a thorough understanding of the qualities of
form that define modern short stories. Several were even able to identify how and where their
chosen stories deviated from the form. The TWIST portions of the project were also where I had
anticipated they would be. But they demonstrated initiative and quality attempts. I am pleased
with the results of this unit of study and feel confident that the class is prepared to move on to
more difficult material. I have been repeatedly surprised over the course of the unit at how
readily the students rise to meet the challenges I have presented them with. I can most certainly
say at this point that these students have previously been grossly underestimated and underchallenged. And I think I speak with confidence when I say they appear to appreciate that I have
placed such high expectations on them. I sincerely hope that this same momentum persists
throughout the remainder of the semester.

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Date: January 6, 2015

Modifications/Adaptations: None necessary/possible at this time.