English 9: Reading and Writing the Human Story
This is a full year of 9th grade English: short stories, a novel, a Shakespeare play, nonfiction and persuasive writing, a research paper, and a final project pulling it all together. Your child learns to read closely and ask "who's telling me this and should I believe them," to argue with real evidence instead of just volume, and to write narrative and persuasive pieces of their own. By June they should be able to pick apart a messy argument, defend a claim with sources that actually hold up, and talk about a book like they've thought about it, not just read it.
Unit 1: Who Is Telling This Story? Point of View and Narrative ReliabilityShort stories, read closely, to build vocabulary for talking about narrators: who's telling the story, what they're hiding, and whether to trust them. This is the toolkit the rest of the year reuses.8 skills ▸close ▾
- Grammatical and epistemic markers of narrative point of view (pronouns, access to characters' thoughts)Given a short story excerpt, identify whether the narration is first-person, third-person limited, or third-person omniscient by locating pronoun and knowledge-access evidence in the text.
- Point-of-view classification in an unfamiliar textGiven a new short story not used in instruction, classify its point of view and locate the specific sentence(s) that provide the classifying evidence.
- The gap between narrator's telling and text's showing as evidence of (un)reliabilityExplain how a specific gap between what a first-person narrator tells the reader and what other characters' reported actions or dialogue show reveals a limit on that narrator's reliability.
- Textual signals of narrator reliability across two different narratorsCompare two narrators from different short stories studied in this unit on the specific textual signals (self-contradiction, other characters' reactions, narrator's stated motive) that cue their reliability, and explain which signal is strongest evidence in each case.
- The distinction between narrator's tone and reader's moodDistinguish the tone a narrator takes toward events from the mood a passage creates in the reader, using word-choice evidence from a passage where the two diverge.
- An unstated narrator motive inferred from unfamiliar textInfer an unstated motive or bias of a first-person narrator in a short story never discussed in class, using only textual gaps as evidence, and justify the inference in writing.
- A written argument about narrator reliability with cited textual evidenceConstruct a paragraph-length claim about a narrator's reliability in a short story not covered in class, supported by at least two pieces of textual evidence and an explanation of how each piece supports the claim.
- Transfer of the reliability-judgment routine beyond fictional narrationGeneralize the reliability-judgment routine built in this unit to a non-narrative context (e.g., a first-person opinion column or a witness account) and explain what changes and what stays the same when the 'narrator' is a real person rather than a fictional construct.
Unit 2: Sustained Narrative: Reading a Novel WholeOne full novel, read over several weeks, with a reading log tracking evidence as they go. The question is whether the Unit 1 tools still work when the story is long and the proof is scattered across chapters instead of sitting in one paragraph.8 skills ▸close ▾
- Motif occurrences in the assigned novel (recurring concrete images/objects/phrases)Given a chapter excerpt, record a motif appearance in a tracking chart by noting the image/detail, page location, and surrounding context, without yet stating what it means.
- The distinction between topic and themeDistinguish a chapter's topic (what it is about, e.g. 'a fight breaks out') from a candidate theme statement (a claim about people/life the chapter's events support), given three chapters' worth of tracked evidence.
- Change in the protagonist's (or a chosen major character's) behavior/values across the novelExplain how a specific character's response to a new event in the second half of the novel differs from their response to a structurally similar event in the first half, citing both passages.
- The motif's stability or instability of meaning across the novelArgue, using at least three tracked instances, whether a recurring image functions as a single stable symbol or shifts meaning across its appearances.
- Structural choices (event order, pacing, withheld information) in a designated chapterExplain how the author's ordering of events (e.g., withheld information, flashback, foreshadowing) in a specific chapter creates tension or surprise, rather than simply reporting what happens in chronological order.
- Criteria for identifying a motif, applied to an unfamiliar textGiven a novel the student has never read or discussed in class, identify whether a described recurring detail is functioning as a motif and justify the judgment using the criteria (repetition + accumulating significance) developed in this unit.
- A full-novel literary argument about motif or character changeCompose a thesis-driven essay tracing one motif or one character's arc across the entire novel, synthesizing evidence from at least three different sections of the text into a single connected argument.
- The general applicability of motif- and character-tracking methods across narrative formsGiven a novel-length narrative in an unfamiliar genre (e.g. a graphic novel or verse novel) that the student has not previously encountered, judge whether the character-change and motif-tracking methods from this unit still apply, and if not, explain what about the new form breaks the method.
Unit 3: Shakespeare: Reading Across Historical DistanceOne full Shakespeare play, tragedy by default, read as a puzzle to reconstruct rather than a foreign language to translate. Adds dramatic vocabulary — soliloquy, dramatic irony, blank verse — and asks what the original audience knew that we don't.9 skills ▸close ▾
- Blank verse vs. prose as formal markers in dramatic dialogueGiven an unmarked passage of dialogue, correctly identify whether it is written in blank verse or prose and state one textual feature (line breaks, capitalization at line start, meter regularity) that signals the choice.
- The dramatic function of verse/prose shifts within a sceneExplain why Shakespeare shifts a specific character from verse to prose (or vice versa) at a given moment in the play, connecting the shift to that character's social status, emotional state, or relationship to another character in the scene.
- Dramatic irony arising from audience/character knowledge gaps in soliloquyGiven a soliloquy the class has not annotated together, distinguish which lines state a character's stated belief versus which lines the audience alone knows to be false or incomplete, and explain the resulting dramatic irony.
- The gap between original-audience assumed knowledge and modern-reader assumed knowledgeReconstruct one piece of historical or cultural knowledge (e.g., beliefs about fate, social rank, gender roles, honor codes) that the original audience would have brought to a scene, using textual evidence plus a provided historical source, and state what a modern reader misses without it.
- The distinction between paraphrase and interpretationProduce a line-by-line paraphrase of an unfamiliar passage that preserves denotative meaning, then separately produce an interpretation of the same passage that accounts for what the paraphrase necessarily lost (tone, ambiguity, wordplay, meter).
- Director's interpretive choices versus the printed scriptCompare a filmed or staged version of a scene to the printed text, identifying at least two directorial choices (cutting, staging, casting, delivery) and evaluating what each choice emphasizes or suppresses relative to the text.
- The connection between a specific dramatic/formal choice and scene meaning, in an untaught sceneGiven a scene and formal choice the student has NOT discussed in class (a different scene from the one used in guided practice, featuring a soliloquy or verse/prose shift not covered), construct an original argument for why that choice matters to the scene's meaning, using evidence from the text and citing at least one piece of reconstructed historical context.
- Dramatic irony as a transferable structural device across dramatic works and erasGiven two scenes from unrelated plays or eras (one studied in this unit, one entirely new, e.g., a modern film script excerpt) that both use a knowledge gap between audience and character, generalize a claim about why dramatists across eras use audience-superior-knowledge structures, independent of which specific play is involved.
- Definitions of soliloquy, dramatic irony, and blank verseRecall the definitions of soliloquy, dramatic irony, and blank verse using precise academic language when prompted with an example from the play.
Unit 4: Reading Arguments: Claims, Evidence, and Rhetorical AppealsSwitches from fiction to nonfiction argument. Teaches claim, warrant, evidence, the three classical appeals (ethos, pathos, logos), and common logical fallacies — and the core problem that a confident-sounding argument isn't automatically a well-supported one.10 skills ▸close ▾
- The claim as the arguable statement an argument is built to supportGiven a short argumentative paragraph, identify the claim and underline the specific sentence(s) that state it.
- The warrant as the (often unstated) assumption linking evidence to a claimGiven a claim and a piece of evidence offered for it, state the unstated warrant that would have to be true to connect them.
- Ethos, pathos, and logos as distinct persuasive appeals with distinguishable textual signaturesClassify a persuasive move in a nonfiction passage as primarily an appeal to ethos, pathos, or logos, and justify the classification by pointing to the specific textual feature that signals it.
- The distinction between rhetorical strength (persuasiveness) and evidentiary strength (support) in the same argumentGiven two arguments for the same position, one built mainly on emotional appeal with thin evidence and one built on relevant, sufficient evidence with modest appeal, determine which is better supported and explain the difference using claim/warrant/evidence vocabulary.
- Logical fallacies as identifiable failures of the warrant, not a vocabulary listName the specific logical fallacy at work in a short reasoning example (from a bank including ad hominem, straw man, false dilemma, slippery slope, hasty generalization) and explain what a valid version of that reasoning would need.
- The effect of historical/cultural distance on an argument's implicit warrants and evidentiary needsUsing the historical-context reconstruction skill from Unit 3, infer what the original audience of a historical speech would have known or assumed that a present-day reader does not, and explain how that gap affects which parts of the argument would have needed less evidence for that audience.
- Text structure (problem/solution, comparison, cause/effect) as a rhetorical choice that develops a claimGiven a nonfiction text structured by problem/solution, comparison, or cause/effect, explain how that structural choice serves the author's argument rather than merely naming the structure.
- Full rhetorical analysis of an argumentative text (claim, warrant, evidence sufficiency, and appeal) integrated into one accountGiven an unfamiliar op-ed on a topic never discussed in this unit, produce a written rhetorical analysis that identifies the claim structure, evaluates the sufficiency of the evidence, and names the dominant appeal(s) used, with no scaffold naming which of these three moves to make where.
- Core rhetoric vocabulary (claim, warrant, evidence, ethos, pathos, logos, bias)Recall the definitions of claim, warrant, evidence, ethos, pathos, logos, and bias when given the term.
- Author's purpose and bias as a source of the specific rhetorical and evidentiary choices visible in a textGiven a persuasive passage with an identifiable bias (e.g., an author with a stated financial or political interest), attribute specific rhetorical choices in the text to that underlying bias or purpose.
Unit 5: Comparing Arguments: Credibility and Bias Across Paired TextsMoves from judging one argument to weighing two credible arguments against each other on the same question. Introduces credibility criteria (authority, evidence base, motive, currency) and the idea that credible sources can disagree without either being a liar.9 skills ▸close ▾
- The four-criteria credibility framework (authority, evidence base, purpose, currency)State the four criteria the class uses to judge a source's credibility (authority, evidence base, purpose/motive, currency) and identify which criterion a given piece of evidence about a source speaks to.
- The corroboration/contradiction labeling procedure applied to a previously modeled text pairGiven a completed corroboration/contradiction map for a paired-text set already used in class instruction (set A or B), correctly label each row as corroborating, contradicting, or unrelated, using the exact map and texts shown during the worked example.
- The distinction between bias and perspectiveClassify a given statement from a text as evidence of bias (motivated distortion) versus evidence of perspective (a legitimate, undistorted standpoint shaped by the author's position).
- Legitimate disagreement between credible sourcesExplain why two sources that meet credibility criteria can still reach different conclusions on the same question, citing differences in evidence base, scope, or values as the mechanism rather than error or dishonesty.
- Corroboration and contradiction between paired textsCompare two paired texts on the same issue by identifying where their evidence corroborates (supports the same fact) and where it contradicts (conflicts on a fact or its interpretation), producing a two-column corroboration/contradiction map.
- Comparative judgment of argument quality across an untaught topicGiven two unfamiliar credible-seeming texts arguing opposite positions on a question never discussed in class, judge which argument is better supported and justify the judgment using the credibility criteria and the corroboration/contradiction method taught in the unit.
- Unstated assumptions underlying credibility judgmentsGiven a claim about which of two sources is more credible, identify the unstated assumption the claim depends on (e.g., that peer review guarantees accuracy, or that a personal account is automatically biased).
- Point-by-point comparative essay organizationOrganize evidence from a corroboration/contradiction map into a comparative essay structure (point-by-point across texts rather than text-by-text summary) that argues which source is better supported.
- The corroboration/contradiction method as a transferable evaluative structureGeneralize the corroboration/contradiction comparison method to a non-text domain (e.g., comparing two data-based reports, or two eyewitness accounts of an event) never used as an instructional example.
Unit 6: Writing Narrative: Craft Choices in Original FictionThe student now makes the narrative choices they've only analyzed so far — point of view and pacing — while writing an original short story. Two full drafts are required, because revision is taught as fixing where the story confuses a reader, not tidying typos.12 skills ▸close ▾
- The informational access and restrictions built into first-person, third-limited, and third-omniscient point of viewGiven the same short scene rewritten in first-person, third-limited, and third-omniscient POV, the student identifies what information each version makes available to the reader and what it withholds.
- Surface-level pronoun and knowledge-access cues that identify first-person, third-limited, and third-omniscient point of viewGiven a short passage of narrative text, the student correctly labels it as first-person, third-limited, or third-omniscient using the pronoun and knowledge-access cues taught on Day 2, applying the same labeling routine practiced in class.
- The tradeoff structure of a specific POV choice for a specific story ideaThe student selects a point of view for an original short story and states, in one sentence, what that choice gains the reader and what it costs them.
- The showing-versus-telling distinction in sentence-level narrative craftThe student distinguishes 'showing' from 'telling' in sample sentences by identifying which sentences state a character's internal state directly versus which render it through action, dialogue, or sensory detail.
- Conversion of a telling sentence into a showing sentence without losing the original narrative informationThe student rewrites three of their own 'telling' sentences from their story draft into 'showing' sentences that preserve the same underlying information.
- The scene-versus-summary pacing decision and its narrative effectGiven two worked examples of a scene told at full scene-speed and the same events compressed into summary, the student explains why a writer would choose one pacing strategy over the other at a given story moment.
- A pacing map for an original, not-yet-written short storyThe student plans a scene-by-scene pacing map for their own short story, marking which moments will be full scene and which will be compressed summary, before drafting.
- A complete original short story draft applying POV and pacing decisionsThe student drafts a complete original short story of at least 800 words applying the chosen POV consistently and following the planned pacing map.
- Reader-confusion points in the student's own draft identified via two independent feedback sourcesGiven the app's automated rubric feedback and the parent-teacher's conference notes on the same draft, the student identifies at least two specific places where a first-time reader would be confused, and states what information is missing at each place.
- Targeted revision decisions justified by reader effect rather than by writer preferenceThe student revises the full draft, addressing at least three identified confusion points, and writes a reflective note explaining what changed and why the change serves the reader rather than the writer's own sense of completeness.
- Grammar and usage conventions specific to narrative writing (tense consistency, pronoun-antecedent agreement, comma splices)The student edits the final draft for command of standard English grammar and usage, correcting at least the error types flagged in the unit's grammar diagnostic (e.g., pronoun-antecedent agreement, comma splices, verb tense consistency within a narrative).
- Transfer of the POV/pacing tradeoff framework to an unfamiliar, unanalyzed story openingGiven an unfamiliar short story opening the student has never seen analyzed, the student predicts what POV and pacing choices a different writer might have made differently and what effect that would have produced, without being told which craft element to examine.
Unit 7: Writing Argument: Building a Defensible ClaimThe student builds an argument instead of analyzing someone else's. The real new skill is representing an opposing view fairly enough that rebutting it actually means something — not just stating a position and moving on.9 skills ▸close ▾
- Fair representation of an opposing position (counterclaim) prior to rebuttalGiven a claim of the student's choosing, write a counterclaim paragraph that states the opposing position in terms its holder would accept as a fair characterization, before any rebuttal is introduced.
- Argument-writing vocabulary: claim, counterclaim, warrant, evidence, rebuttalRecall the definitions of claim, counterclaim, warrant, evidence, and rebuttal as used in argument writing.
- The claim-evidence-explanation (CEE) paragraph structure for integrating evidenceExecute the claim-evidence-explanation integration pattern (signal phrase, quoted or paraphrased evidence, explanation of how the evidence supports the claim) in a body paragraph.
- The distinction between a fairly represented counterclaim and a straw-man counterclaimDifferentiate a counterclaim that is fairly represented from one that is a straw man, given two contrasting sample paragraphs on an unfamiliar topic.
- Logical gaps between evidence and claim in argumentative writing (missing warrants)Given a full draft argumentative paragraph containing a logical gap (an unsupported leap from evidence to claim), infer what missing warrant or evidence would close the gap.
- Fairness and logical sufficiency of a counterclaim-rebuttal section in an unfamiliar essayGiven a completed argumentative essay draft on any topic (including one on a topic never discussed in this unit), critique the essay's counterclaim-rebuttal section for fairness and logical sufficiency and produce specific revision guidance.
- Overall structural plan of an argumentative essay including counterclaim placementPlan an argumentative essay's structure (claim, three-point organization, placement of counterclaim/rebuttal) for a self-selected issue before drafting.
- Sentence-level revision for clarity: transitions and pronoun referenceGiven feedback identifying a specific weak transition or unclear pronoun reference, apply Language conventions (L.9-10.1, L.9-10.2) to revise sentence-level clarity in the student's own draft.
- Original claim and fair counterclaim construction in an unrehearsed domainGiven an issue in a domain never discussed in class (e.g., a local zoning dispute or a school policy the student has never analyzed), generate an original claim and a genuinely fair counterclaim without a model paragraph to imitate.
Unit 8: Research: Finding, Evaluating, and Using SourcesA short research paper built from real judgment calls: pick a question, sort through sources of mixed quality (some look authoritative and aren't), and write a claim-driven paper from what actually holds up. Teaches lateral reading — checking who's behind a source before trusting its content.9 skills ▸close ▾
- The criteria that make a research question researchable at this scope (arguable/explorable, bounded, not a single-fact lookup)Given a broad topic, narrow it to a research question that is answerable within an 18-day, source-based paper (neither a yes/no fact lookup nor an unanswerably broad question).
- Lateral reading as a credibility-checking strategy, contrasted with reading a site 'vertically' (judging it by its own claims/design)Explain why checking who is behind a source (lateral reading) is a more reliable credibility check than evaluating the source's own content, appearance, or self-description.
- Credibility judgment of a specific, previously unseen digital sourceApply lateral reading to judge whether an unfamiliar website, given only its homepage and a five-minute open-search window, is credible enough to cite in a research paper.
- The boundary between acceptable paraphrase, patchwriting, and appropriate quotationDistinguish an acceptable paraphrase (same idea, own sentence structure and words, cited) from plagiarism-adjacent paraphrase (word-swapped but same sentence structure) and from an unnecessary direct quotation.
- MLA in-text citation and reference-list entry format across three source typesExecute in-text (parenthetical) citation and a matching Works Cited/reference entry for a website, a print article, and a database article in a standard format (MLA).
- Synthesis of multiple, partially conflicting sources into a single defensible claimGiven three sources that address the same research question but partially disagree, construct a claim that accounts for where the sources agree, where they conflict, and which source's conflicting claim is better supported.
- The definition and scenario-based recognition of plagiarismRecall the definition of plagiarism and identify which of several given scenarios (uncited quote, uncited paraphrase, common knowledge, cited paraphrase) constitute it.
- Fitness of a source for a specific research question, as distinct from generic credibilityGiven a completed source list, evaluate which two sources are weakest for this specific research question and justify replacing them, even though both would pass a generic credibility checklist.
- Lateral reading as a transferable verification strategy across media, not a website-specific procedureGeneralize the lateral-reading strategy to a non-website context (a documentary clip and a social-media infographic) that was not the medium used during instruction.
Unit 9: Synthesis: A Second Novel and the Multi-Genre PortfolioA capstone: a new novel, read mostly outside lesson time, analyzed by choosing which lens — narrator reliability, theme/motif, historical context, or rhetorical/source evaluation — fits a given passage, then a portfolio: a literary essay, an argumentative piece, and an oral defense pulling in the whole year.9 skills ▸close ▾
- The four year-long analytical lenses (narrator reliability, theme/motif, historical context, rhetorical evaluation) and their diagnostic cues in a passageGiven an unannotated passage from the synthesis novel, the student identifies which of the four lenses (narrator reliability, theme/motif, historical context, rhetorical/source evaluation) is most productive for that passage and states one textual reason for the choice.
- Year-long vocabulary set from Units 1-5 and 8The student recalls the definitions of narrator, reliability, theme, motif, historical context, claim, warrant, evidence, appeal, bias, and credibility without reference support.
- The relationship between narrator reliability and warranted theme claims in the synthesis novelThe student explains how the second novel's narrator's reliability affects which theme claims the reader can trust as the author's, connecting narration technique to thematic development.
- An arguable, text-specific literary analysis claim integrating at least two analytical lensesThe student drafts a literary analysis essay claim about the synthesis novel that is arguable, specific to the text, and supported by textual evidence selected using at least two lenses.
- Credibility and relevance criteria for external sources applied to the synthesis novel's argumentative topicThe student evaluates a source proposed for the argumentative portfolio piece for credibility and relevance, applying the source-evaluation criteria built in Unit 8 to a source outside any text used in that unit.
- Reader-confusion-driven revision of the literary analysis essay draftThe student revises a full draft of the literary analysis essay toward a reader's likely points of confusion, identified from a peer/parent read-aloud, rather than toward the student's own sense of completeness.
- Justification of lens-combination choice against a proposed alternative interpretationIn the oral defense, the student justifies why a particular lens combination (not a single lens) best accounts for a portfolio claim, when questioned about an alternative lens the questioner proposes.
- A general heuristic mapping text features to productive analytical lenses, transferable beyond the two novels studied this yearThe student generalizes a statement of which lens or lens-combination tends to matter most for which kind of text feature (e.g., unreliable first-person narration cues the narrator lens; archaic diction cues the historical-context lens), applicable to a novel not read this year.
- Sorting of collected textual evidence by analytical lens (narrator, theme, context, rhetoric)The student classifies portfolio-relevant textual evidence by which lens it best supports before drafting either piece.
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