Grade 8 ELA | FL B.E.S.T. Standard: ELA.8.R.2.1
TEACHER USE ONLY - Please keep secure and do not distribute to students
| Question | Answer |
|---|---|
| 1 | Structure: Cause and Effect. Signal word: "As a result" (or "because," "led to")
The paragraph explains why the flood was devastating (causes: levees too close) and what resulted (effects: flooding, displacement, new legislation). |
| 2 | This is a flashback structure. The effect it creates is showing that present-day understanding was shaped by a past experience - we see the event filtered through adult reflection, which adds layers of meaning. The 40-year-old narrator can now understand what the 12-year-old couldn't. |
| 3 | Problem/solution structure is effective because the author's purpose is to inform readers about an issue AND persuade them that action is needed. The cause/effect section helps readers understand WHY the problem exists (without understanding causes, solutions don't make sense), while the solution section offers hope and pathways forward. |
| 4 | The features work together: Subheadings preview what each section covers so readers can locate specific information. Bolded vocabulary identifies key terms to learn. Diagrams visually represent concepts that are hard to explain in words alone. Together, they break complex information into manageable, navigable pieces. |
| 5 | In the first novel (crime revealed upfront), suspense comes from HOW the detective solves it - readers focus on clues and methods. In the second novel (chronological), suspense comes from not knowing what happened - readers experience events alongside characters and are surprised by the crime. The first creates intellectual engagement; the second creates emotional surprise. |
| Question | Answer |
|---|---|
| 1 | B. Cause and effect
"Why Cities Get Hotter" explains reasons (causes) like concrete absorbing heat and blocked wind. |
| 2 | C. Problem/solution - issue followed by responses
The overall arc is: defines problem (heat islands), explains why it's a problem (consequences), then offers solutions. |
| 3 | The headings preview content and organize the article logically. Readers can quickly see the structure (what is it, why it happens, consequences, solutions) and locate specific information. Each heading tells readers what that section will focus on before they read it. |
| 4 | Examples: "Because" (shows cause), "As a result" (shows effect), "First" (shows sequence of causes), "This, in turn" (shows chain of effects). These signal words help readers understand how ideas connect - what causes what, and how one effect leads to another. |
| 5 | The cause/effect structure within the problem section helps readers understand WHY the solutions are needed and HOW they address root causes. Without understanding that concrete absorbs heat (cause), readers wouldn't understand why cool roofs (solution) would help. The nested structure makes the logic clear. |
| 6 | The author inserts the flashback immediately after the grandmother says "That photograph was taken the day I made a choice that changed everything." This placement is effective because it answers the question the reader now has (what choice?), creating a natural transition. The present-day mystery (why was the photo hidden?) motivates interest in the past. |
| 7 | B. The flashback structure shows us the MEANING of the moment through the grandmother's current perspective |
| 8 | The present-day frame adds reflection and consequences. We learn the grandmother doesn't regret her choice, that it led to career, husband, and family. We also see how Maya interprets the story's meaning. The 1962 scene alone would show a choice being made; the frame shows what that choice meant across a lifetime and how its meaning continues to evolve. |
| 9 | Showing the scene lets readers experience the emotion and tension directly - we hear the dialogue, feel the weight of the moment. This creates stronger emotional connection than summary would. We understand not just WHAT happened but how it FELT, making the grandmother's choice more meaningful. |
| 10 | C. Compare and contrast |
| 11 | The compare/contrast structure allows the author to present both approaches fairly, without declaring one better. The author's purpose seems to be informing readers about different philosophies rather than persuading them. By organizing information in parallel (this is how Lincoln does it / this is how Roosevelt does it / here are results), readers can draw their own conclusions. |
| 12 | B. It allows readers to form their own initial impressions before seeing results |
| 13 | An author might avoid a definitive conclusion to respect complexity - neither approach is objectively "better" because they prioritize different outcomes. The open ending invites readers to think critically about their own values (do they prioritize test scores or well-being?). It also maintains objectivity, which is appropriate for informational writing. |
| 14 | If persuading readers Roosevelt is better, the author might: lead with Roosevelt's impressive statistics (40% fewer disciplinary issues), downplay or explain away Lincoln's higher test scores, use more positive language for Roosevelt and neutral/negative for Lincoln, perhaps include student testimonials from Roosevelt, and end with a strong conclusion arguing for the wellness approach. |
| Question | Answer |
|---|---|
| 1 | B. Frame narrative with historical documents embedded in present-day story |
| 2 | B. It reveals the core experience that shaped William's choice to enlist |
| 3 | B. They clearly signal time shifts and help readers track the non-linear narrative |
| 4 | B. To show how past events illuminate present-day understanding and inspire action |
| 5 | A and B. Part 4 is in present tense while Parts 2-3 are historical letters; Part 4 shows Emma's internal thoughts while Parts 2-3 show external communication |
| 6 | B. It connects the past and present, showing how William's experience becomes relevant to Emma's life |
| 7 | B. It creates a dialogue across time, allowing readers to see how one person's words affected another |
| 8 | B. The ending mirrors the letters - we see the decision to act, not the outcome, emphasizing choice over results |
| 9 | See rubric and sample response below. |
| 10 | See rubric and sample response below. |
| Score | Criteria |
|---|---|
| 2 | Explains how frame structure allows past to illuminate present AND identifies specific theme developed through this structure with textual support |
| 1 | Addresses one element but not both, or provides incomplete analysis |
| 0 | Fails to meaningfully address how frame structure develops theme |
| Score | Criteria |
|---|---|
| 2 | Analyzes all three time layers and explains how each contributes to meaning/theme |
| 1 | Addresses time layers but analysis is incomplete or misses one layer's contribution |
| 0 | Fails to meaningfully address how the three time layers work together |