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CHAPTER

1

Building a Narrative Unit Map

This chapter shows a narrative unit map example that features learning outcomes, specifically what you want students to know, understand, and do (KUD), along with guiding questions to frame your units and lessons. These components represent the beginning stage of backward planning. When you reach the exercise later in this chapter, you may download the featured narrative map (visit go.SolutionTree.com/literacy) and make revisions, or refer to it as a guide to develop your own map using the blank unit templates. As you read this book, each chapter will provide resources you can use to continue building this map and begin drafting lessons for the narrative genre you will teach. As mentioned in the introduction, should you need background information on narrative writing and what it entails—or perhaps want material to use within lesson planning—refer to appendices A, B, and C on pages 123–148.

To understand the map and the design process, you need to be familiar with backward planning. If this approach falls outside your knowledge and experience and the following section does not provide you with enough information, please consider reading The Fundamentals of (Re)designing Writing Units (Glass, 2017a), which covers each component of backward design in detail, along with examples to illustrate aspects of this approach.

A Review of Backward Design

As a brief review, backward design (Wiggins & McTighe, 2005) means that you initiate planning your unit (or lesson or course) by reviewing and grouping pertinent content-area standards. Using these standards as a guide, you will identify learning outcomes (KUDs), craft guiding questions, and determine a culminating assessment with success criteria, specifically a checklist and rubric. You can use analytic rubrics and checklists as instructional tools; the former serves as a scoring mechanism as well.

Developing KUDs and guiding questions allows you to determine learning outcomes based on the content standards your state, district, or province expects you to implement. These components provide clarity and direction for determining evidence of learning and then planning meaningful, effective lessons. In doing so, you can expressly construct and implement classroom experiences to meet the targeted goals that you have articulated in the KUDs. Figure 1.1 (page 8) details the components and a suggested sequence, from top to bottom, for developing your units guided by backward design. After identifying the content standards, though, you may change the order of how you develop KUDs from figure 1.1; just remember that designing lessons occurs after you articulate these overarching learning outcomes.

Figure 1.1: Unit-planning components of backward design.

Visit go.SolutionTree.com/literacy for a free reproducible version of this figure.

The Role of Standards

A unit map is a guide for curriculum development that emanates from content standards. Since narrative writing is the focus, input grade-level literacy standards to support students in producing a genre within this text type. For example, table 1.1 shows examples of writing standards for grade 8 from the Common Core State Standards (CCSS; NGA & CCSSO, 2010), the Texas Essential Knowledge and Skills (TEKS; Texas Education Agency [TEA], 2010), and the Ontario Curriculum (Ontario Ministry of Education, 2006). Some standards, like the first two entries in table 1.1, clearly specify narrative or aligned terminology; others, like the Ontario Curriculum (Ontario Ministry of Education, 2006), are open ended and rely on the teacher, school, or district to determine what the writing focus entails. You will also need to address other writing standards, such as those related to the writing process, development, coherence, style, and organization, as well as considering the task, purpose, and audience. Additionally, add key writing skills related to grammar and conventions that might appear under a strand or category other than writing.

In addition to narrative writing standards, target other literacy expectations, such as reading, listening, and speaking. Because students will read and examine many texts from published authors and students for a variety of purposes, it is imperative to target standards related to these other strands. Furthermore, if you teach a core or humanities class that combines language arts and history, you might ask students to integrate the two. For example, students can demonstrate understanding of what they have read and learned about the events, places, and individuals of a particular time period by writing historical fiction. Or they can compose a myth that represents cultural values of a specific civilization. If this resonates with you as a viable and effective direction for your unit, incorporate relevant history and social studies standards too. Inputting a combination of all applicable standards—literacy and subject specific—will serve to guide you as you design the key learning outcomes and the culminating assessment, which then focuses your lesson design.

If you do not know the content that you are expected to teach well enough, or the standards do not supply enough information (which is often the case), conduct research to increase your own professional expertise. To do so, rely on multiple references, such as textbooks that span different grades. These could include college-level texts and materials, online resources, and colleagues who are more experienced in the area. Additionally, find anchor papers and examine published and student writing samples that exemplify excellence so that you operate under correct assumptions about the quality of writing your students should attain. If you are unsure, ask informed colleagues.

Next, you can preview examples of narrative unit maps as you begin to consider what kind of map to create for driving effective curriculum design.

Table 1.1: Sample Grade 8 Excerpts of Writing Standards

Source	Sample Grade 8 Writing Standards
CCSS (NGA & CCSSO, 2010)	W.8.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. a. Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically. b. Use narrative techniques, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters. c. Use a variety of transition words, phrases, and clauses to convey sequence, signal shifts from one time frame or setting to another, and show the relationships among experiences and events.
TEKS (TEA, 2010)	(15) Writing/Literary Texts. Students write literary texts to express their ideas and feelings about real or imagined people, events, and ideas. Students are expected to: (A) write an imaginative story that: (i) sustains reader interest; (ii) includes well-paced action and an engaging story line; (iii) creates a specific, believable setting created through the use of sensory details; (iv) develops interesting characters; and (v) uses a range of literary strategies and devices to enhance the style and tone. (16) Writing. Students write about their own experiences. Students are expected to write a personal narrative that has a clearly defined focus and includes reflections on decisions, actions, and/or consequences.
Ontario Curriculum (Ontario Ministry of Education, 2006)	Form 2.1 write complex texts of a variety of lengths using a wide range of forms (e.g., a memoir of a significant Canadian; a report comparing the economies of two nations and explaining how a new industry might affect each nation’s economy; briefing notes for an oral debate outlining both sides of an argument, including appeals to both logic and emotion; a narrative in the style of a particular author, adding to or extending a text by that author; an original satirical, science-fiction, or realistic fiction piece modelled on the structures and conventions of the genre; a free verse or narrative poem, or a limerick)

Narrative Unit Map Examples

This section features two versions of unit map resources to examine. Later you can begin building your own map using the end-of-chapter exercise to guide you. At that time, you can select your preferred version and use items in the samples I provide as you see fit as well as augment your own entries.

To orient you to these resources, table 1.2 (pages 11–17) represents one format; tables 1.3 and 1.4 (pages 18–19) reflect a different one. Both include components for the beginning stages of backward planning aligned to narrative, such as elements of literature (setting, character, plot, and so forth), figurative language, and some literary devices (for example, dialect, mood, and suspense). However, tables 1.3 and 1.4 (pages 18–19) each show unit map excerpts that include activity ideas, resources to teach the unit, and formative assessment evidence. Sometimes when designing maps, lesson ideas surface; therefore, the format in these tables includes cells to record them. To conduct some lessons, what you record might be enough to lead effective instruction. For teaching new material, though, you can take what you input to later develop into more robust lessons. (See chapter 4 for a discussion about the gradual release of responsibility lesson design approach.) Some of you, though, may not prefer this granular level of detail for a unit map and will design one like the example in table 1.2 (pages 11–17). When reviewing this version and thinking about how you might use it to devise your map, consider these points.

• Although table 1.2 seems comprehensive and complete, you will find that adaptations, deletions, and additions will be necessary based on key factors, such as your targeted genre, content-area standards, the complex text or texts at the center of instruction, student population and characteristics, and other variables—even your teaching style. Your English language arts (ELA) standards will indicate items to add: specific literary devices (irony, foreshadowing, and satire, for example), grammar skills (like active versus passive voice), or sentence structure areas (such as parallelism or compound-complex sentences). In addition, you will likely include English language development or English learning expectations, and perhaps content-area standards if you teach and incorporate disciplines other than ELA for this narrative unit.

• The compilation of items serves as options for your unit, so you’ll select those that align to your learning outcomes. For example, you may not need every row I include or you might combine some like setting with imagery and revise accordingly. For each targeted area (for example, character, theme, or dialogue), perhaps choose one essential understanding or wordsmith to combine two, plus use some of the knowledge items instead of all bullet points.

• For lesson-guiding questions and skills, select those that address your students’ needs and the outcomes or revise them. Some appeal to reading—as students examine texts—and also guide students’ writing. For example, these questions and skills are geared to reading: How do readers determine a story’s narrator and point of view? Identify a narrative’s point of view and analyze how it impacts the work and readers’ perceptions. And these for writing: Who will be the narrator for my story? What point of view will I use? Introduce a narrator and establish a point of view. I typically enter reading first, followed by writing as students initially examine text and then apply what they learn to their own writing. Alternatively, you can separate reading and writing into their own columns or add subheadings within a column, as you wish.

Return to this section when you begin drafting your unit map to take into full account these points along with the others mentioned later in the chapter.

Before generating a map to develop your unit, there are some matters regarding the unit as a whole to consider, which I detail in the following sections. One involves the unit’s organizational structure and another concerns existing resources at your disposal. I also suggest that students keep a notebook (referenced in tables 1.3 and 1.4) throughout the unit and beyond to support their learning.

Narrative Unit Approach

A well-choreographed unit exemplifies commitment to your craft. Your dedication to detailing what matters most in the unit will yield dividends in organizing your teaching, targeting goals along the way, and contributing to student achievement. When you aptly prepare for curriculum design, your teaching will go more smoothly and you will position your students to progress in their learning. A unit map serves this purpose. It guides you in lesson design based on learning outcomes and indicates the sequence of lessons to reflect how the whole unit will flow. For example, at the outset it is prudent to issue one or more preassessments, which I discuss in chapter 2 (page 29) along with examples. Follow the preassessment with a launch lesson to orient students to the characteristic elements of the targeted genre at the center of instruction and to introduce the expectations for their narrative writing task. (You can find details for leading this lesson in the section (Re)design a Narrative Writing Checklist in chapter 2 on page 32.) After conducting a preassessment and initiating the unit, consider continuing in one of two ways.

1. Conduct a lesson on a narrative topic or related topics—for example, setting and imagery or plot with suspense. Then allow students time to produce a graphic organizer or draft of a paragraph based on the lesson focus for their own narratives. They collect this work in a folder or electronically. Conduct another lesson focused on a topic and again give time for students to draft something for their own narratives and add it to their ongoing collection. Repeat this sequence. Later, they use these prewriting pieces to compose their first drafts.

Table 1.2: Narrative Writing Unit Map Item Options—KUDs and Guiding Questions

Visit go.SolutionTree.com/literacy for a free reproducible version of this table.

Table 1.3: Detailed Unit Map Excerpt—ELA

* L = Lesson

Table 1.4: Detailed Unit Map Excerpt—Interdisciplinary ELA and History

* L = Lesson

2. In another approach, lead a series of lessons in succession that introduce all the literary elements, devices, and forms of figurative language. When students prewrite and compose their first draft, they take everything they learned into account and apply it wholesale for their narratives.

Your map should reflect these decisions since it catalogs not only the order for teaching skills to sequence the unit but also the approach for how to write a narrative. The first approach can assist students who are fairly new to narrative writing or less experienced writers because it gives them a place to start their first drafts by accessing various existing prewriting tools they’ve accumulated throughout the unit as opposed to a blank slate. Students might decide to scrap or completely change any accumulated work when they finally begin the first draft, but at least they have some material to begin the writing process. Either path, however, can produce the same results provided that you devote the necessary time and energy to map out a sound unit and teach effectively.

Consideration of Existing Resources

As you develop your map, scrutinize your existing resources to choose materials that match what you want students to know, understand, and do. To accomplish this goal, review your textbook or other resources carefully if you have not already, and intentionally find the parts that serve the goals of the narrative unit you are building. If you use a textbook or other curriculum, you might change the order of what a writer or publisher thinks is the best sequence and take charge of how you want to teach the unit based on your expertise and preference. For example, you could decide to focus on setting before characters, which might contradict the table of contents in a literature textbook you use.

To determine which texts you will use to teach standards-based skills, scour the resources at your disposal (anthology, textbook, or other materials). Identify which complex texts complement your unit and aptly exemplify what you will teach—elements of literature, literary devices, figurative language, writing style, and so forth. If you use the more detailed unit map (tables 1.3 and 1.4, pages 18–19), record the text resources with page numbers to prime yourself for the lesson design phase. If you use the less comprehensive map (table 1.2, pages 11–17), consider adding a column for resources or jotting them down on a separate document. By undertaking this exercise, you familiarize yourself with the available resources and prepare for devising your own lessons or revising what the teacher’s guide might offer.

Although publishers propose certain elements or devices tied to a story, you are the final arbiter of this decision. For illustrative purposes, I vetted a literature textbook for grade 8 and highlight my findings for two selections: Walter Dean Myers’s (1997) “The Treasure of Lemon Brown” and W. W. Jacobs’s (1997) “The Monkey’s Paw.”

“The Treasure of Lemon Brown”

I concur with the publisher’s recommendation that character portrayal plays a key role in Walter Dean Myers’s (1997) “The Treasure of Lemon Brown.” However, setting also deserves attention and warrants students’ keen examination, which is not a focus in the teacher’s guide. The following quotes supply evidence for the setting’s prominence in the story where Myers uses figurative language to describe how this element contributes to the mood.

• “The dark sky, filled with angry swirling clouds, reflected Greg Ridley’s mood as he sat on the stoop of his building” (p. T94).

• “It was beginning to cool. Gusts of wind made bits of paper dance between the parked cars” (p. T94).

• “He reached the house just as another flash of lightning changed the night to day for an instant, then returned the graffiti-scarred building to the grim shadows.… The inside of the building was dark except for the dim light that filtered through the dirty windows from the street lamps” (p. T95).

• “There was a footstep on the stairs, and the beam from the flashlight danced crazily along the peeling wallpaper” (p. T99).

Therefore, when perusing textbooks, use your professional judgment and learning outcomes to determine aspects of narrative worthy to target as a teaching focus.

“The Monkey’s Paw”

In W. W. Jacobs’s (1997) “The Monkey’s Paw,” the publisher aptly highlights suspense and irony. Like the short story previously mentioned, this text is also ripe for exploring the setting and the mood it creates. These excerpts and others within the story can testify to this.

• “Without, the night was cold and wet, but in the small parlor of the Lakesnam Villa the blinds were drawn and the fire burned brightly.” (p. T185)

• “‘That’s the worst of living so far out,’ bawled Mr. White, with sudden and unlooked-for violence; ‘of all the beastly, slushy, out-of-the-way places to live in, this is the worst. Pathway’s a bog, and the road’s a torrent.’” (p. T186)

Both of these stories appear within the same literature textbook about one hundred pages apart. Since they both exemplify an author’s use of setting to create mood, I would expose students to each story in succession to illustrate this element and literary device. Additionally, juxtaposing the authors’ treatment of language to create different moods would prompt worthwhile analysis. By carefully perusing the entire offerings of complex text in any resource—textbook, anthology, prepackaged curriculum—you can devise a unit map and develop lessons that might prove more effective than if you rely solely on the publisher as the guide instead of your own professionalism.

Student Notebook

Throughout the unit, students will expand their writing capabilities in all sorts of ways as they acquire new skills, processes, strategies, vocabulary, content knowledge, and so forth. To capitalize on their ongoing learning, ask them to create an individual writing resource notebook either in a hard-copy format or electronically, or a combination of both. In it, they can store and continually build on their continuing knowledge base around writing. They can refer to their notebooks—and share them with others—as they write all year long. Students can divide this resource in sections such as these.

• Vocabulary lists: As they read salient passages from complex text, students record words and add to their lists consistently. They don’t just study words for a particular unit and then leave them behind. Rather, they repeatedly reinforce and use vocabulary to increase their inventory. For each word, they provide examples, explanations, definitions, parts of speech, and nonlinguistic representations (such as illustrations or symbols). To help make these words part of their lexicon, students should continually use them; therefore, teachers encourage them to access this section and use selected vocabulary in their writing. They can organize the vocabulary section into subsections by parts of speech or by types of words (for example, alternatives to the word said; words for personality traits [like courageous, innovative, resourceful, and selfless]; and sensory words). If students create an electronic notebook, they can categorize words easily and also keep them in alphabetical order.

• Genres: Students can dedicate a section of their notebooks to what they learn about the different writing genres and the unique characteristics of each. They can insert checklists and rubrics that align to specific genres and include exemplary writing samples. These can be their own examples as well as other students’ or published ones.

• Elements of literature: When you orient students to the five elements of literature—(1) character, (2) setting, (3) plot, (4) point of view, and (5) theme—they will accumulate various handouts and sample excerpts from complex texts that exemplify each element or a combination of them. Instruct students to store anything related to this topic in this section. They can indicate in their binders any overlap with the figurative language section.

• Figurative language: Students include definitions and passages of simile, metaphor, personification, hyperbole, and imagery from various authors’ works they believe employ figurative language well. Additionally, they brainstorm their own examples to use at some point in their writing.

• Grammar, conventions, and formatting: This section consists of any grammar and conventions resources to assist students in creating pieces free of grammar, punctuation, spelling, and capitalization errors. It also includes style guidelines for formatting in-text citations and works cited documents from the Modern Language Association (MLA) or American Psychological Association (APA). Classroom or school directives for headings and other routine formatting expectations can be included, as well.

• Bookmarks: Students should keep electronic bookmarks on their devices for sites that support their writing, such as websites for vocabulary, resources for grammar or proper formatting like MLA or APA, glossaries of literary devices, sites that feature writing samples, and so forth.

When introducing the writing resource notebook, you might say something like this: “Throughout the year, I will expect you to keep a three-ring binder to use as a writing resource. I will check it periodically for organization, completeness, and accuracy. Put tabs in your notebook and divide it into these sections: [insert the sections you wish them to include]. All year long, refer to it and add to it to help you become a more proficient writer.”

When teaching pertinent lessons, encourage students to make and insert entries into this resource. For example, when you discuss allusion and the class generates a definition and finds examples in text, instruct students to record this information in their notebooks.

Figure 1.2: Unit map blank template (option 1).

Visit go.SolutionTree.com/literacy for a free reproducible version of this figure.

Figure 1.3: Unit map blank template (option 2).

Visit go.SolutionTree.com/literacy for a free reproducible version of this figure.

Exercise: Unit Map—KUDs and Guiding Questions

At this point, if you haven’t already, target a unit of study around narrative. Start by creating or redesigning a standards-based unit map with any of the following approaches.

• Option 1: Access go.SolutionTree.com/literacy and download table 1.2 (pages 11–17) for ELA. This option is for readers who want to select and adapt existing KUDs and guiding questions, plus augment others as they see fit, to accommodate their teaching situation. (Review the points pertaining to this map under the section Narrative Unit Map Examples.)

• Option 2: Access go.SolutionTree.com/literacy and download figure 1.2, unit map template 1. This option is for readers who want to create a map from scratch that includes learning outcomes and is a blank version of table 1.2.

• Option 3: Access go.SolutionTree.com/literacy and download figure 1.3 (page 24). Those who want to build a more comprehensive map should use this template, which is based on tables 1.3 and 1.4 (pages 18–19). Revise this template appropriately as you work with it to accommodate the number of lessons your unit requires to align to each unit-guiding question.

Once you determine your template, read the Exercise Tips that follow. This will position you for starting your own customized unit map.

Exercise Tips

When working on the Unit Map—KUDs and Guiding Questions exercise, heed the following suggestions regarding standards, complex text, sequence, and language.

Standards

Content-area standards—whether national, state, provincial, or district—define goals and expectations that students should achieve by the end of the school year. They are not intended to serve as a curriculum, but rather guide unit and lesson design, which is precisely why you use them to develop your unit maps.

• Each line item on the map links to one standard or a combination of standards. You might combine those that make sense for what you are teaching; for example, connect setting with plot and characters, or setting with figurative language, and so forth.

• Weave content-area standards in with English language arts standards if you are teaching narrative writing in conjunction with another discipline. Tables 1.5 and 1.6 (pages 25–26) are excerpts from interdisciplinary unit maps. The former is a sample English language arts and history map and the latter combines English language arts and science.

Complex Text

Although students produce a culminating written narrative, they will read plenty to examine complex text throughout the unit for a variety of purposes. Therefore, keep these pointers in mind.

• Consider the complex text or texts students will experience and their key elements, figurative language, and literary devices. Make sure the map reflects these aspects of the literature since students can perhaps emulate what they notice and study from authors’ models.

• Additionally, you’ll want to include learning outcomes about the content of the complex text itself if you are teaching it concurrent with students writing their narratives. See table 1.7 (page 27) for an excerpt of a unit pertaining to Charles Dickens’s (1843) A Christmas Carol that focuses on key ideas of the text. The Knowledge column is omitted, but would contain factual and foundational information, such as political, economic, and social factors of the Victorian era, social status and acceptance, moral and ethical values, vocabulary associated with the text, relationships among characters, and so on.

• You might very well incorporate informational text in your unit, so account for this in your map. Even though students examine and produce narratives, there are opportunities for them to read informational text. For example, when they conduct research for a biography or historical fiction piece, they will delve into an array of informational text such as interviews, newspaper articles, or primary source documents.

Sequence and Language

The order of the line items on your map matters so be intentional in your placement of them.

• Organize the line items row by row in an explicit order to show the flow and sequence of how you will teach the unit. If you conduct interdisciplinary lessons, tables 1.5 and 1.6 can prove helpful. In these examples, students acquire and apply information—geography and global climate change, respectively—that they use in their narratives. They will undoubtedly complete assessments in the content areas but will further demonstrate their understanding by creating historical and science fiction narratives.

• Each unit question has a number to reflect a teaching sequence along with associated lesson-guiding questions that are even more specific—lesson 1.1, 1.2, or 1.3. Notice that the lesson-guiding questions, for example those in tables 1.2 (pages 11–17), 1.5 (page 25), 1.6, and 1.7, are situated from less complex to more sophisticated. Once you determine which lesson-guiding questions you will use, sequence and number them to show an order for teaching.

• You can add a final question to pertinent sections to frame learning experiences for students to apply skills they acquire to their own narratives, such as: How do I incorporate allusion into my own story? How can I write using a consistent point of view? What types of figurative language are appropriate for my narrative? Alternatively, consider replacing I with you.

• In table 1.2 (pages 11–17), I write some lesson-guiding questions in third-person point of view. In your unit plans, write them in first, second, third, or a combination. Additionally, choose to use either author or writer, as you wish.

• There are instances in which you may repeat essential understandings and unit-guiding questions throughout the unit. While reading a complex text with several settings, for example, students revisit the question, How do authors create descriptive settings? By critiquing each new setting passage that authors introduce, students gain deeper meaning and invent or revise their own settings to apply what they learn. For this kind of situation, insert similar rows in your unit map to reflect elements or devices that students re-examine.

Remember that your unit map is a work in progress. You are just beginning work on it, and as you read subsequent chapters, you will continue to add to it. At any point, you can always return to it and make changes. If you are collaborating with colleagues and create a Google Doc or a similar online tool for the map, invite anyone to edit it. You can even dedicate collaborative team time or department meeting sessions to discuss and work on this project.

Table 1.5: Interdisciplinary ELA and History Unit Map Excerpt—KUDs and Guiding Questions

* L = Lesson

Table 1.6: Interdisciplinary ELA and Science Unit Map Excerpt—KUDs and Guiding Questions

*L = Lesson

Table 1.7: English Language Arts Map for A Christmas Carol—KUDs and Guiding Questions

*L = Lesson

Summary

By using the backward-design approach as a guide, you have a clear path to planning a rigorous unit. Comprehensively reviewing the content you are to teach and intentionally planning effective learning experiences increase your own professionalism and teaching ability and impact student achievement.

When creating your narrative unit map, you can plan one from scratch using one of two templates. Alternatively, use the completed map available in this chapter and revise and augment it accordingly. Be sure to begin with standards and consider not only English language arts standards—writing, reading, speaking, listening, grammar, and conventions—but also English learner (EL) or English language development (ELD) standards and any subject-specific content-area standards that are part of the unit. Consider approaching your textbook and materials as useful resources that you intentionally access, augment, and revise, as needed, for explicit purposes to address learning outcomes. Of course, be mindful to operate within the dictates of your school or district so you do not deviate from its expectations.

When building your map, first think about how you want to organize the unit to determine the teaching sequence. Will students have an accumulation of notes and paragraph sketches that they produce all throughout the unit to use when they write their first drafts? If so, incorporate lesson-guiding questions at strategic points for students to work on these pieces. For example, end each appropriate collection of lesson-guiding questions with these kinds of queries: How can I use methods of characterization to develop my protagonist and antagonist? Or, What plot structure can I use for my narrative? Another factor to keep in mind is how you will use existing resources, such as the textbook, in the unit. Also ask students to keep a notebook as a reference tool throughout the whole unit and beyond to support and extend their learning.

Moving forward, you will have the opportunity to use what you developed about learning outcomes to guide the culminating writing task and criteria for success. In the next chapter, I present information and examples for you to write this performance task, and the checklist and rubric that accompany it, for instruction and assessment. You will also have a chance to consider preassessment options and plan an appropriate one to implement.