The Help by Kathryn Stockett Teacher Resource 2018

TEACHER RESOURCE FOR THE HELP BY KATHRYN STOCKETT ANCHOR TEXT THE HELP
(Order Copies from CCS Book Warehouse)

This resource with its aligned lessons and texts can be used as a tool to increase
student mastery of Ohio’s Learning Standards. It should be used with careful SHORTER LITERARY TEXTS Available HERE
consideration of your students’ needs. The sample lessons are designed to target INFORMATIONAL TEXTS Available HERE
specific standards. These may or may not be the standards your students need to MEDIA/VISUAL TEXTS Available HERE
master or strengthen. This resource should not be considered mandatory.
OHIO’S LEARNING POWER STANDARDS RESOURCE FOCUS

RL.11-12.3, RL.11-12.5, W.11-12.1, W.11-12.2, Student learning will center on the analysis of the author’s choices including how Stockett develops her
W.11-12.3 characters and how the novel’s structure aids in that development. Students will consider how structure and
characterization impact meaning, mood, & aesthetics, and how setting can function in a work.
SAMPLE LESSON 1 SAMPLE LESSON 2 SAMPLE LESSON 3 SAMPLE LESSON 4

Prior to Reading Chapters 1-9 Chapters 10-16 Chapters 17-24
LITERARY FOOTBALL CHARACTERIZING BY CHAPTER WRITING LIFE FUNCTIONS OF THE SETTING
VOCABULARY/LITERARY ELEMENTS LIST VOCABULARY LIST VOCABULARY LIST VOCABULARY LIST
SAMPLE LESSON 5 SAMPLE LESSON 6 SAMPLE LESSON 7 SAMPLE LESSON 8

Chapters 25-29 Chapters 30-34 After Reading Extension of Standards to New Material
STRUCTURE SHIFT CHOOSING AN ENDING DIFFERING OPINIONS CAROUSEL AUTHOR’S CHOICES
VOCABULARY LIST VOCABULARY LIST VOCABULARY LIST
WRITING/SPEAKING PROMPTS (TASK TEMPLATES AND RUBRICS: LDC 2.0, LDC 3.0, ARGUMENT RUBRIC, INFORMATIONAL RUBRIC, NARRATIVE RUBRIC, LDC SPEAKING & LISTENING, SPEECH)
Argument Informative/Explanatory Narrative

-Many writers use a setting to establish values within a work of literature. -When we come to the end of a novel or play, a satisfying conclusion should -Stockett does a pretty good job in The Help of giving the reader an event
For example, a country setting may be a place of virtue and peace or one of have been reached and the readers should feel that the story is over. from the points of view of several characters. Decide one time in the novel
primitivism and ignorance. Using Kathryn Stockett’s The Help, write a Discuss the conclusion of The Help and explain the ways in which the story that you would have appreciated an event being told from another
paragraph in which you make and defend a claim about how the setting reaches a satisfying conclusion. character’s perspective that was not covered by Stockett. Rewrite that event
functions in the work as a whole. in the viewpoint of your chosen character.
-State how Skeeter responds to one of the “cultural collisions” she
-What motivates dishonesty? In a well-written essay, analyze the motives experiences in Chapters 17-24 and explain its relevance to her identity. -After reading chapters 10-16 of The Help, craft a narrative poem about
for one character’s deception in The Help and argue how the deception was events in the lives of the one of the characters.
-After reading several critical reviews of The Help, write a paragraph in
or was not necessary for plot and character development. which you compare two or more of the critics’ views on Stockett’s choices -Stockett chooses to use flashbacks in The Help to give the reader a fuller
-Select a character in The Help that has deliberately sacrificed, surrendered, regarding dialect. Support your discussion with evidence from the novel picture of her characters. After finishing The Help, prepare an oral story that
or forfeited something in a way that highlights that character’s values. Then and the reviews. chronicles one of the characters’ lives in order. Your goal is to use a variety of
write a well-organized paragraph in which you make a claim about the techniques to sequence events so that they build on one another to create a
character’s values and show how the particular sacrifice illuminates those coherent story. You should build to an ending that shows growth in the
values character or shows that the character has acquired some form of happiness.
English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 1

SAMPLE LESSON 1
Prior to Reading any of The Help
LITERARY FOOTBALL
MINI-LESSON (Pre-Assessment): Have students make a four-column chart in their own notebooks. Label the columns: Elements of Storytelling/Structure, Elements of
Character, Elements of Diction, and Elements of Syntax. Show these slides: Literary Elements: Ohio’s Learning Standards RL.11-12.3 & RL.11-12.5. For each slide, have the
students write the item(s) described in the slide on their charts in the column to which it/they belongs. Then, share the chart below and have them check their answers.
Note: “conflict” and “point of view” can be in both the first and second columns, depending on how the student understood those elements.
Elements of Elements of Character Elements of Diction Elements of Syntax

Storytelling/Structure
-Plot Line (exposition, rising action, -Indirect Characterization -Formal, Neutral, and Informal -Sentence Length (telegraphic, short, medium, long)
climax, falling action, resolution) Language
-Direct Characterization -Rhetorical Fragment & Question
-Flashback & Foreshadowing -(Point of View) -Colloquial Language and Dialect -Sentence Structure (simple, compound, complex, compound-complex, natural
-Setting -(Conflict) -Slang and Jargon order, inverted order)
-Point of View -Flat and Round -Abstract and Concrete Language -Repetition (Parallelism, Anaphora, Epistrophe, Chiasmus, Antimetabole,
Anadiplosis, Epanalepsis, Asyndeton, Polysyndeton, Alliteration, Assonance, Sibilance)
-Conflict -Static and Dynamic -Denotation and Connotation
-Framing Device -Cumulative, Periodic, and Balanced Sentences
STUDENT WORKSHOP: Let the students know that today’s lesson is about getting to know the literary elements associated with Ohio’s Learning Standards 11-12.3 and 11-
12.5 that they just explored in the Mini-Lesson. Many of the lessons they will do while reading The Help center on those two standards. Students will become more familiar
with the elements they listed in their four-column chart from the mini-lesson slides, and start to understand why authors choose to use those elements.
--Have students break into teams of five. Be sure that there is an even number of teams—adjust number of members as needed. Choose one person from each team to be
the referee. The referee will be the one to mark the advancement of their team on the whiteboard football field and will not answer questions.
--Hand the referees a mini-whiteboard (or chalk board, overhead, paper, electronic tablet, etc.) with the drawing of a football field with end
zones and yard line labeled (or just have them draw it on a chalkboard or whiteboard available in the classroom). They should flip a coin or use
a coin flip app or site to see which team gets the ball. The referee from the team with the ball will mark an X on their team’s 20-yard line.
--The referee from the team that won the toss will ask the first person on that team a literary question dealing with the literary elements from the slides. If this person gets
it right, the referee should advance their team’s ball (the X) 10 yards and ask the next person on the same team a new question. If the person gets it wrong, the referee
will ask the same question to the next person on that same team. If that person knows the answer, they should answer and advance the ball 10 yards. If they do not know
the answer, they can choose to take a guess or “punt” the ball. If they guess and get the answer wrong, the other team takes over the ball, headed in the other direction. If
they choose to punt, the other team takes over the ball on their own 20-yard line and the other referee will take over asking questions to his/her team. When moving the
ball, be sure to erase the previous spot of the ball completely for clarity. (Note: Unlike regular football, there are only 2 downs to advance the ball, not 4.)
--When teams advance into the end zone, they are awarded 7 points and they punt the ball to the other team. (There are no Extra Point Kicks needed and there are no
Field Goals.) Play for a set amount of time. The winning team is the one with the most points.
--The question cards can be found HERE. They may be used electronically by the referees on phones or tablets, or they can be printed to make physical cards.
REFLECTION/FORMATIVE ASSESSMENT: Have students separate from their groups and pair up with someone from another team. Using their four-column chart, have one
of the students select a column and spend one minute telling their partner everything they now know about elements that fit into that column. Then, have the partner add
any items in a 30 second reply. Do this for all four columns, having each partner do the one-minute opener twice and the 30-second reply twice, so that all four columns are
discussed. End with some whole group reflections about the elements they learned about today and how authors might choose to use them.

SAMPLE LESSON 2
Prior to Lesson: Students Should Read Chapters 1-9
CHARACTERIZING BY CHAPTER
MINI-LESSON: Have students take a close look at Chapters 1-6 and make a three-column chart in their notebooks showing which of the three main characters (Aibileen,
Minny, or Skeeter) is the voice of the first 6 chapters. Have students talk to a partner about why Stockett chose to begin her novel with this structure. Then have a few
students share their ideas.
Aibileen Minny Skeeter
1, 2 3, 4 5, 6
Next, Display the first seven paragraphs of Chapter One. Go HERE for an electronic copy of The Help.
Read it aloud, asking students to focus on the subject of the paragraphs. Discuss what the subject is and what is learned about the subject.
Read the paragraphs aloud a second time, asking students to focus on the narrator of the paragraphs. Discuss what can be learned about the speaker and how you are
able to discern information about the speaker.
Model filling in the Characterizing By Chapter Graphic Organizer based on those first seven paragraphs. Talk through the process, modeling your choices and thought
processes. Be sure to make really clear the differences between types of characterization (indirect, direct) and characters (major, minor, flat, round, static, dynamic).
YOU CAN FIND THE CHARACTERIZING BY CHAPTER GRAPHIC ORGANIZER SAMPLE AND A BLANK ORGANIZER ON THE NEXT TWO PAGES.
YOU CAN ALSO FIND A GOOGLE DOC WITH THOSE PAGES TO SHARE ELECTRONICALLY HERE.
STUDENT WORKSHOP: Have students work in groups of three. They will work together to fill in a Characterizing By Chapter Graphic Organizer (blank copy below and
HERE) for each of the main characters (Aibileen, Minny, and Skeeter) using any section from chapters 1-6 they choose. Then, they will analyze the graphics and prepare a
tableau.
Step One: Together they will choose three sections of the novel for analysis, using their three-column chart as a guide to which chapters should be used for each
character. Tell them to keep the sections small, like in the mini-lesson.
Step Two: Individually, students should choose one of the characters and fill out a Characterizing By Chapter Graphic Organizer. Each student will have one of the
three characters and no two students in any group will do the same character.
Step Three: Have each student slide his/her graphic organizer to one of the other group members. Have each member analyze what is on the chart that was
given to them and remove/add to it.
Step Four: Each group should prepare and perform a tableau from one of their selected text sections and corresponding Characterizing By Chapter Graphic
Organizer. The rest of the class needs to guess the character(s) in the tableau and relate what is learned about the character(s) from the tableau.
REFLECTION/FORMATIVE ASSESSMENT: Have students separate from their groups. Take a few minutes to summarize the activities the students have engaged in during
the mini-lesson and student workshop. Have students open their notebooks. They should respond to this prompt: How does Stockett’s choice to introduce the reader to
the three main characters through the structure of having two chapters from each of their points of view open the novel affect the narrative?
-You may collect this or take a look at it during a reading/writing workshop time on another day or during a reading/writing conference.

CHOSEN TEXT CHOSEN FIRST READING-SUBJECT SECOND READING- NOTES ABOUT CHARACTER AND
CHARACTER NARRATOR CHARACTERIZATION
Mae Mobley was born two years The narrator is black and takes care of We learn about both the subject and narrator through indirect
ago (1960) on a Sunday (church white babies, along with cooking and characterization. The voice of the narrator uses informal and
Chapter One, baby). She is being taken care of by cleaning. She has raised 17 white kids nonstandard English which could tell us about her education
Paragraph One the narrator. The narrator talks and believes she is more of an expert in level. She belongs to some group “we” which could tell us about
about her job as a maid/care child rearing than the mothers of the her social status. She is confident in her abilities to raise kids.
provider. kids. The use of “church baby” is a colloquialism.
Aibileen This is a flashback to when Mae The narrator is more of a child expert More indirect characterization lets the reader see the distinction
Mobley Leefolt was born. She cried because she has a name for the crying in language between the narrator and Miss Leefolt. Even though
Chapter One, a lot as a baby and her mother did (colic). Leefolt is upset, her sentences are complete. The narrator uses
Paragraph Two not know what to do. a local color metaphor (like it's a rotten turnip) and you can
almost hear her talking in your head. She is coming to life for
the reader.
The mother of Mae Mobley referred The narrator believes there is The narrator’s comments on the subject are indirect
Chapter One, to Mae as an “it” in the previous something wrong in the Leefolt house characterization. At no point in this section do we see the author
Paragraph Three paragraph—I had assumed the “it” between the mom and baby. telling us anything about the characters directly. It is all indirect.
stood for “crying’ not ‘child.”
Mae Mobley is quieted by the The narrator knows the child has The actions of the narrator give us an indication that she is
Chapter One, narrator and the mom does not trapped gas and knows how to alleviate caring (held and bounced baby) and wants to give Miss Leefolt
interact with Mae the rest of the the problem. She believes the mother’s the benefit of having a medical excuse for ignoring Mae.
Paragraph Four day. lack of interaction has to do with “baby
blues” or depression.
Miss Leefolt is frowns all the time The narrator compares Miss Leefolt’s There could be an inference to evil with the devil simile to
Chapter One, and is skinny and angular with thin face to a devil and says that babies like Leefolt’s true character. Again, through indirect characterization,
Paragraph Five hair. fat women better because they are the narrator comes off as competent and caring.
more soothing.
Mae is one-year old and seems to The narrator feels judged by Miss The use of “chilluns” is dialect. It really allows the reader to hear
Chapter One, be attached more to the narrator Leefolt (narrow eyes) because Mae Aibileen’s voice.
Paragraph Six than her mother. She clings to prefers her. The narrator has insight into
Aibilieen’s leg at the end of each the situation because she said it is a
work day-5pm). The mother seems risk you take when you allow someone
miffed at the attachment. else to raise your child.
Mae is two-years old (back to the The narrator calls Mae her special baby. The nonstandard English and lack of verbs again gives insight
Chapter One, present time of the novel-1962) and There is an attachment indicated that to Aibileen’s education level and status. Her informal way of
Mae looks like her mom except may go beyond what should be talking will distinguish her as “the help.” Is this a choice by the
Paragraph Seven she’s fat, which bothers Miss between a maid and the child she takes author for clear separation of “classes,” or is it more about
Leefolt. care of during the day. character voice?

CHOSEN TEXT CHOSEN FIRST READING-SUBJECT SECOND READING- NOTES ABOUT CHARACTER AND
CHARACTER NARRATOR CHARACTERIZATION

SAMPLE LESSON 3
WRITING LIFE
BEGINNING ACTIVITY: Have students take out a piece of paper and fold it in half twice so that when it is unfolded, there are four sections. You may want to provide large
pieces of paper for this or you can have them do it electronically using a 2x2 table in Google Docs or other application. Then, have students turn to the beginning of
Chapter 13 in their novels or on their devices. Display paragraphs 3-6 electronically for everyone to see. Go HERE for an electronic copy of The Help. Read this section
(paragraphs 3-6) aloud to the class, emphasizing Minny’s statement at the end of paragraph 5: “Look to me like you just writing Life.” Then, have the students close their
eyes. Ask them to think about the events of Chapters 10-16 and to picture the event that represents everyday Life in the novel. Have them open their eyes and find the
passage in the novel where the event is that they pictured. Tell them that they will be able to refer to the passage throughout today’s lesson which will focus on how
Stockett’s portrayal of everyday life impacts the novel.
STUDENT WORKSHOP: Have students follow these instructions for filling in the four quadrants of their paper while the teacher circulates and gains insight from the
process about each student’s ability to analyze and respond to literature.
-Top Left: Draw a picture of the event they pictured that represents everyday Life in the novel.
-Top Right: Put the picture into words.
-Bottom Left: Write what the teacher would say about the incident. This should be literary analysis. Their diction should be formal and include the jargon of an English
teacher. Have them include RL.11-12.3 items such as choices the author made about the inclusion of the event in the development of the novel.
-Bottom Right: Write a personal reaction to the event. Tie it to today, the real world, your life, another text, etc.
REFLECTION/FORMATIVE ASSESSMENT: Have students meet in groups of three to present their completed quadrants. Then, ask them to take out their notebooks and
make a list of three ways Stockett develops her novel through events that are true-to-life, i.e. those that have verisimilitude.

SAMPLE LESSON 4
FUNCTIONS OF THE SETTING
INTRODUCTION: 1. Project Slide 8 from the slides used in Sample Lesson 1 Literary Elements: Ohio’s Learning Standards RL.11-12.3 & RL.11-12.5. Read aloud the
beginning of the setting definition: the historical time and place, and the social circumstances in the “world” of the literature. Tell the students that today’s lesson will ask
them to “step into” the “world’ of The Help. For many of your students, they will not like to going there. It is 1962-64 in Jackson, Mississippi—the lynching capital of the
United States. There are Jim Crow laws and white supremacy de facto social laws. They will be delving into the choices Stockett makes as she juxtaposes actual historical
and political events with the everyday lives of the novel’s characters, thus looking once again at RL.11-12.3 & 5. Their job will be to find find answers and supports for the
following prompt: Using Kathryn Stockett’s The Help, write a paragraph in which you make and defend a claim about how the setting functions in the work as a whole.
2. Read aloud the rest of the setting definition from Slide 8: rarely isolated; can affect structure, symbol, irony, tone, mood, archetype, and character. Tell the students
that the setting of The Help definitely affects the structure (order of events in novel parallel with history), the mood (rollercoaster of hope and despair), and the
characters (seamless interaction with historical events helps define/develop characters and adds to verisimilitude) in the novel. It also affects elements not listed in this
definition such as diction and theme. 3. Have students look at the rest of Slide 8. Read through the four subcategories of setting and ask them to begin to think about
how The Help’s setting fits each of the categories.
INTERACTIVE MODEL-LESSON: Have the students turn to Chapter 19, Paragraphs 1-6 and display them for the class electronically. Go HERE for an electronic copy of The
Help. Model the following activity with input from the students.
1. Highlight any portion of the text dealing with the geographical location/natural environment in green.
2. Highlight any portion of the text dealing with cultural backdrop/social context/time period in yellow.
3. Highlight any portion of the text dealing with the artificial environment in pink.
4. Highlight any portion of the text dealing with props in blue.
5. In the second column on the chart, state function of the setting for a few of the highlights.
IT is 1963. The Space Age they’re calling it. A man has circled the SETTING FUNCTIONS IN THE HELP
earth in a rocketship. They’ve invented a pill so married women
don’t have to get pregnant. A can of beer opens with a single finger 1. Provide Transition-Marking the year and the time period at the beginning of Chapter
instead of a can opener. Yet my parents’ house is still as hot as it was 19 serves as a transition between with the previous tension-filled events surrounding
in 1899, the year Great-grandfather built it. Celia’s miscarriage narrated by Minny and the languid days narrated by Miss Skeeter.
“Mama, please,” I beg, “when are we going to get air-conditioning?” 2. Provide a Source of Conflict - Miss Skeeter and her mother are not affected by the
“We have survived this long without electric cool and I have no weather in the same way. Skeeter seems to be much more bothered by the weather
intentions of setting one of those tacky contraptions in my window.” and argues with her mother concerning getting an air conditioner.
And so, as July wanes on, I am forced from my attic bedroom to a 3. Show Values of a Character- Miss Skeeter moves from her bedroom to a screened-in
cot on the screened back porch. When we were kids, Constantine used porch and only takes a few personal things with her: a typewriter and her satchel. This
to sleep out here with Carlton and me in the summer, when Mama and underscores the importance of writing in Skeeter’s life. It is part of her identity.
Daddy went to out-of-town weddings. Constantine slept in an old-
fashioned white nightgown up to her chin and down to her toes even 4. Provide Transition- Miss Skeeter has a flashback to her youth because of the back
though it’d be hot as Hades. She used to sing to us so we’d go to sleep. porch setting.
Her voice was so beautiful I couldn’t understand how she’d never had
lessons. Mother had always told me a person can’t learn anything 5. Show Values of a Character- Miss Skeeter’s mom is characterized by her class status.
She is concerned with propriety. She believes you can’t learn anything without lessons
without proper lessons. Its just unreal to me that she was here, right and new ideas should be suspect. The cultural backdrop of this work causes Stockett to
here on this porch, and now she’s not. And no one will tell me a thing. I write characters who believe that older and proper things are to be valued.
wonder if Ill ever see her again.
6. Provide Tension- Putting the real-life murder of Medgar Evers into the book causes a
Next to my cot, now, my typewriter sits on a rusted, white enamel
washtable. Underneath is my red satchel. I take Daddy’s hankie and
heightened tension for the maids and Skeeter who are writing the book.
wipe my forehead, press salted ice to my wrists. Even on the back 7. Provide Verisimilitude- Putting the real-life murder of Medgar Evers into the book
porch, the Avery Lumber Company temperature dial rises from 89 to stresses the significance of Stockett’s choice of a real city (Jackson, Mississippi) as the
96 to a nice round 100 degrees. Luckily, Stuart doesn’t come over backdrop for the story. It gives the story credibility because you know that the items
during the day, when the heat is at its worst.
the maids tell about could definitely have happened in the real city of Jackson based on
I stare at my typewriter with nothing to do, nothing to write. its history.
Minny’s stories are finished and typed already. Its a wretched feeling.
Two weeks ago, Aibileen told me that Yule May, Hilly’s maid, might 8. Focus Reader Expectation-Telling the reader that it is the Space Age and science has
help us, that she shows a little more interest every time Aibileen talks advanced sets the reader up for an “advancement” in the lives of those in the novel.
to her. But with Medgar Evers’s murder and colored people getting
arrested and beat by the police, I’m sure she’s scared to death by now. 9. Reflect Mood/Atmosphere-The 100-degree summer days are the prefect reflection
of a society about to boil over. The action of the with its secrets and blurring of societal
boundaries should happen in the summer.
After interacting with the students and modeling how to highlight for setting and fill-in the functions in chart, let the students know that the functions of setting can go
beyond the ones listed on the chart. Some others may be to advance the plot, enhance/establish mood or atmosphere, reflect character psychology, act as a symbol, be
an agent for foreshadowing, etc.
STUDENT WORKSHOP: Now that you have modeled for the students how integral the choice of setting is to the other elements in literature and how easy it is to find
examples of setting and figure out their function, it is time for them to work together in groups to replicate the activity and answer the following prompt based upon
their activity: Using Kathryn Stockett’s The Help, write a paragraph in which you make and defend a claim about how the setting functions in the work as a whole. Ask
each student to select one of the sections linked below (or one of their own choosing from chapters 1-24) and find at least two other students who want to work on the
same section. You can put hard copies of the selections around the room in different spots for students to gather around or have each of the selections on an electronic
device (have them pull it up on a shared doc on their own device or a school-owned device). HERE is a doc with some possible selections.
Let the students know that they can look at the Standard W.11-12.1 for argument writing clarifications. Have students follow these parameters for their paragraphs:
-Thesis must state two functions of setting
-Opening of paragraph must name author and work
-Body of paragraph must provide at least one example of each function with explanation
-Examples must be in correct MLA parenthetical citation format
-Conclusion of paragraph must tie the examples to the work as a whole
REFLECTION/FORMATIVE ASSESSMENT: Collect the paragraphs electronically through doc sharing. Use them to decide if the students have mastered analyzing the
impact of author’s choices regarding setting on other elements of literature. You may also use it to see if you need to teach any mini-lessons on MLA parenthetical
citations or paragraph structures.

SAMPLE LESSON 5
STRUCTURE SHIFT
MINI-ACTIVITY: Have the students stand up. Tell them that they will walk around the room until the teachers calls out “mingle.” At that point, they need to find a partner
to talk with for a short amount of time. The teacher will give the partners a topic to discuss and tell them when it is time to stop talking and start walking again. This will
repeat until the teacher has asked all of the questions below. The teacher may play music during the walking time. A good choice would be music specifically mentioned in
the novel such as Bob Dylan’s “The Times They Are A-Changin’,” Patsy Cline’s “Walking after Midnight,” “The Beatles “Love Me Do,’ or Stevie Wonders’ “Fingertips.”
1. In the Characterizing by Chapter Lesson, we looked at how the novel was structured by the alternating voices of Aibileen, Minny, and Skeeter. You have seen that
structure play out throughout the book. What are your thoughts about the alternating points of view/chapter structure?
2. Talk about the one time in the novel that the alternating points of view structure was not followed? How and why did it change?
3. List three ways Stockett makes chapter 25 structurally different from the rest of the novel.
4. Talk about The Benefit. How is our understanding of certain characters affected by the actions at The Benefit?
Have the students sit down and briefly go over their thoughts about the four questions. Here are some sample ideas they may have discussed.
1. I find I prefer one voice over the others; I can’t wait to get back to Minny’s chapters; I noticed it is not a regular alternation with a set number of chapters per voice;
etc.
2. It changed in Chapter 25. The chapter did not have one of the three narrators as its title. Instead, it had an event. None of the three characters were telling the story.
We were seeing it as a party-goer and not exactly a participant in the action. It changed because this is the climax of Celia Foote’s storyline. It changed because it was
Celia Foote’s story and she was not one of the three main narrators. It changed because the irony was stark—raising money for blacks in Africa and won’t treat blacks
at home with respect. It is a high point of action with the tearing of Hilly’s dress and vomiting. It is the point at which Hilly’s world begins to unravel.
3. It was given a title. There were lines down the sides of the pages of the chapter. It used third-person point of view.
4. We get to see Celia’s unpreparedness to be with Hilly’s crowd—before we knew they did not accept her and we now see some reasons for that;, We see Celia’s
sincerity twisted into lies and innuendos by Hilly; We see Hilly scheming and lying which is true to her character; We see Hilly’s mom get revenge for Hilly’s past
actions; We see that Skeeter is now an outsider with her former social class; We see that exceptions are made for men without social mores, but not women; We see
that Minny’s pie incident has caused pain for more than just Hilly; etc.
STUDENT WORKSHOP: Stockett does a pretty good job in The Help of giving the reader an event from the points of view of several characters. In Chapter 25, The Benefit,
the point of view is changed from first person to third person. Have students choose one character from this chapter and rewrite an event from Chapter 25 in the
viewpoint of the chosen character. Students can work alone, with a partner, or in groups of three. Tell them to be sure to stay true to the voice of their character. They
may have to write in dialect if they choose someone like Minny. They may have to channel their inner evil if they are Hilly. Have them look at other chapters with the voice
or actions of the character they chose. The students should use Stockett’s novel as a model of how to use indirect characterization to advance plot. Their character should
use the same diction (formal, informal, neutral, dialect, colloquial, etc.) and same syntax (type of sentences, length of sentences, patterns/repetition, etc.) as exist in the
novel. Let the students know that they can look at the Standard W.11-12.3 for narrative writing clarifications. Have students follow these parameters for their narrative:
. Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters.
- Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution).
- Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters.
REFLECTION/FORMATIVE ASSESSMENT: Collect the narratives electronically through doc sharing. Use them to decide if the students have a clear handle on the choices an
author can make to develop characters through indirect characterization. Also check on their ability to model the syntax and diction of characters. You may also use it to see
if you need to teach any mini-lessons on narrative techniques.

SAMPLE LESSON 6
CHOOSING AN ENDING
INTRODUCTION: Talk to the students about one of the most difficult choices an author has to make: how and when to end his/her novel. Clearly most plot lines follow
Freytag’s pyramid and have a Resolution or Denouement at the end of the story. Authors must make sure to tie up all loose ends so that the reader feels satisfied. Many
authors also want to provide a way to be able to write a sequel. Unfortunately, feeling satisfied and setting up a sequel do not always work well together. Today, students
will look closely at Stockett’s denouement and make judgments about how well it works in the structure of the narrative.
MINI-LESSON: Have students read “Why Don’t You Love Us? (Like You Used to Do)” by Nancy Levi Arnez (linked here and located on page 16) to themselves. Then, read
it aloud to them. Then, ask for two volunteers to read it aloud in character separating the lines as follows: Reader One reads Lines 1-4, 6-9, 11-14; Reader Two reads the
Title and Lines 5, 10, and 15. Reader Two should read each line with increasing agitation. After the reading, talk to the student about the power of the repeated question
that Reader Two brought to life. Draw and fill-in a dramatic situation chart together as a class (see example below). Students can draw it in their notebooks while the
teacher models. Then, have them answer the questions below in a Think, Pair, Share Protocol.
Who is speaking? Whites
To Whom? Blacks
About What? Subject? Whites give Blacks things they don’t want any longer or
inferior items and wonder why the Blacks aren’t thankful
When?/Where? From Slavery Times through Present Day
Why?/Purpose? Show that the “charity” of Whites is not about caring; it is

about the inherency of White supremacy
Tone? Bitter
1. Look at the poem without lines 5, 10, and 15. What line is the turning point (climax) of the poem, i.e. where does the poem change from “concrete” items being
given to “abstract” ones and from past to present? “We are the most giving of people” (11). Things before line 11 are concrete (clothes, cities) and after line 11
are abstract (emptiness, happy). The verbs change here to present tense: “give” is used instead of gave.
2. Look at all of the lines after the turning point. How do they serve as a conclusion? They continue with the idea of Whites giving to Blacks. They represent current
times. They take the poem to its conclusion because the lines complete the chronological order of White/Black relations.
3. Is the conclusion satisfying? Does it seem fitting given the subject of the lines leading up to it? Did the author stay true to the plotline? The conclusion is fitting
and satisfying for the narrative of the poem, but dissatisfying as a real-world issue. It is exactly what the other lines have led up to—the chronology of inherent
White supremacy will continue to exist. Even though the final “gift” is “time to be happy,” it is marred by a racial epithet “n____,” showing a continuation of
racism. The repetition of the “Why don’t you love us like you used to do?” frames the poem (title and last line) as well as forms its spine (lines 5 & 10).
Therefore, readers do not expect a different conclusion. It is a predictable conclusion based upon the repetition and therefore, literarily satisfying.
4. Is another conclusion possible? No. There would have to be some change in the “institutional” racism being described in the lines leading up to the conclusion
for the ending to be anything other than what it was.

STUDENT WORKSHOP: Have students work in groups of three. They will work together to decide if the conclusion to The Help is satisfying? If it fits the structure of the
narrative? If it sets up a sequel? and If any other conclusions were possible? NOTE: This workshop may require more than a single class period.
Step One: Have each student make a four-column chart in his/her notebook. Put one character at the top of each column (Aibileen, Minny, Skeeter, and ______).
The fourth column is a character of their choosing.
Step Two: Have students reread the final two chapters of the novel or at least from the confrontation between Hilly and Skeeter in Chapter 33 to the end of
Chapter 34. While reading, have them note under each character how their conflicts are resolved and their “loose ends” are tied up. They should state what
happens and what is the catalyst for the resolution. They may want to include textual citations and chapter/page numbers so that this chart becomes a useful
tool in writing the essay outlined below in the REFLECTION/FORMATIVE ASSESSMENT section. Although working together, they each need to be making and
filling in their own charts. See the Mae Mobley example. You can access a sharable Google doc with this entire workshop HERE.
Aibileen Minny Skeeter Mae Mobley

Mae’s conflict is with her parents. She prefers
Aibileen’s unconditional love to her parents’
fickle love and disapproval. The highest point of
tension for her was when Aibileen told her good-
bye. She is not mature enough to understand
why Aibileen is leaving. The last time we see her
she is crying, which is the exact same way we
were introduced to her. We know that crying is in
character with her age, but we also get two
instances that her storyline resolution is not just
that of a sad child. Aibileen is the catalyst for
Mae’s resolution. Through Aibileen’s final
interaction with her and Aibileen’s
foreshadowing, we see that Mae’s self-esteem
has and will continue to increase and that she
has learned the equality lessons that Aibileen
taught her.
Chapter 24
“Baby Girl,” I say. “I need you to remember
everthing I told you. Do you remember what I
told you?” . . .
I look deep into her rich brown eyes and she
look into mine. Law, she got old-soul eyes, like
she done lived a thousand years. And I swear I
see, down inside, the woman she gone grow up
to be. A flash from the future. She is tall and
straight. She is proud. She got a better haircut.
And she is remembering the words I put in her
head. Remembering as a full-grown woman.
And then she say it, just like I need her to.
“You is kind, she say, you is smart. You is
important.”
“Oh Law.” I hug her hot little body to me. I
feel like she done just given me a gift. “Thank
you, Baby Girl.”

Step Three: Have each trio discuss the following questions. They should discuss and take notes about their answers. This should give them enough ideas to be
able to write an answer to the prompt in the REFLECTION/FORMATIVE ASSESSMENT section.
1. Because there are many storylines in The Help, it is possible to disagree on the exact climax of the novel. In fact, it could be said that this book has a rolling
climax as the highest points of tension for Aibileen, Minny, and Skeeter (the three main characters) do not happen simultaneously. What can be said with some
certainty is that it is the creation and publication of the book inside the novel that ties all of the storylines together. Therefore, the highest points of tension
come as Skeeter, Minny, and Aibileen wait for the book to impact their lives. What is the highest point of tension for each of these characters?
-Skeeter’s main conflict is with Hilly in particular and her social group in general. Skeeter’s storyline climaxes when she is confronted by Hilly in Chapter 33 and Hilly backs down
on her threat to tell Skeeter’s mom about the book.
-Aibileen’s climax happens when she is accused of stealing silver eating utensils (which she did not do) and is fired by her employer at the urging of Miss Hilly. Hilly set up the
whole “stealing” incident. The real reason she was fired was because of her involvement with the publication of the book. Hilly knows she was involved because her memoir in
the book mentioned that her employer had an L-shaped crack in her table which identifies her employer as Miss Leefolt.
-Minny’s storyline has many high points of tension, but due to its placement toward the end of the book, it is the night her husband Leroy comes home after being fired that
serves as the climax. He has a history or beating on Minny, but usually stops when she is pregnant. Despite her being pregnant, he “‘tries to kill [her] with his bare hands!’” He
also threatens to set the house on fire with her in it. The catalyst for this is ultimately Minny’s involvement in writing the book. Hilly’s husband is Leroy’s boss and he fires Leroy
because Hilly tells him to do it. He also tells Leroy that the reason he is fired is because of his wife.
2. Look at what happens after the climax for each character. Your chart from Step Two can help with this. How do the events in each of the main characters’ lives
serve as a conclusion? Add ideas to your chart from your discussion. Each of the three main character’s involvement in the creation of the book leads them to make a
change at the end of the novel. Having Hilly Holbrook as an antagonist also pushes the changes. These changes serve as the conclusion of the novel because they show a
progression for the characters. You know that their lives are going to improve—thus they all have become stronger through their involvement with the publishing the book.
Skeeter’s resolution is that she will be a writer in NYC. Her success as the writer of the book got her the job offer. She came home from college without the courage to really try
to be a writer, although it was what she wanted. She will also visit Chicago to visit Constantine’s grave which ties up the loose end concerning the mystery of Constantine’s
absence in her life after college. Aibileen’s resolution also involves writing. She will write the “Miss Myrna” column for the local paper and maybe even “something else.” She
had been writing her prayers for years and is now ready for her writing to be public. For the first time in her life, her career will not involve taking care of white ladies’ children. It
is a break for her and new beginning. Minny’s resolution happens when she leaves her husband. She knows that she will always have a job with Celia Foote and she will get more
money from the book. This gives her the strength to leave her abusive husband. Although she put information in the book about Hilly and the pie to protect herself, it did not
protect her fully. She says she took her husband’s abuse “long enough.” Her immediate plan is to live with Octavia until she gets her own place.
3. Is the conclusion satisfying? Does it seem fitting given the plotline leading up to it? Did the author stay true to the plotline? The conclusion is satisfying and fits the
narrative. Nothing that happened to the three main characters was hard to imagine. Aibileen and Skeeter already had the ability to write well, and the creation of the book gave
each an avenue to make it a career. Minny was the one who put the part about the pie in the novel as a form of protection. She knew Hilly would not want people to know that
she ate the pie and would convince everyone that the story was not about Jackson. Her natural inclination as a protector now applies to herself. She will no longer be a punching
bag for her husband.
4. Is there anything in the conclusion that foreshadows a sequel? Both the fact that Aibileen and Skeeter are going to write open up the door to another work in either of
their voices. The trip to Chicago for Skeeter could also be another book.
REFLECTION/FORMATIVE ASSESSMENT: Have students separate from their groups. They should spend the next two days in a writing workshop crafting an essay on the
following prompt: When we come to the end of a novel or play, a satisfying conclusion should have been reached and the readers should feel that the story is over.
Discuss the conclusion of The Help and explain three ways in which the story reaches a satisfying conclusion. Be sure to use analysis and cite textual evidence.
Provide students with the following Summary Document to set clear assessment criteria and have them fill it in and attach to the front of their papers. Feel free to adjust the criteria
based on the standards and portions of standards that students need. This doc will make grading and conferencing easier and keep the students focused on mastery of standards.
-Spend time during the writing workshop conferencing with students about their progress. You can also look at other items in their notebooks and electronic portfolios from prior lessons
to assess mastery.

SAMPLE LESSON 7
Prior to Lesson: Students Should Read The Help
DIFFERING OPINIONS CAROUSEL
BEGINNING: Organize the room into six stations. Choose six of the articles from the Information Texts for Pairing and put several copies of a single article at each station
or have a few electronic devices with the article pulled up on them at each station. Each station will have a different article. Note: An optional choice for one of the
stations is the use one of the first two audio/visual sources in the Media/Visual Texts. For additional fun, put one of the foods from the novel at each station.
STUDENT WORKSHOP: Have students participate in a carousel. Separate them into six groups. You will have each group visit each station for 15-20 minutes. If you are
not on a block schedule, allow two days for this workshop. At each station, the students will read the articles. Then, they will fill out an Investigative Chart (linked here
and seen below) for each station. You may want to display a countdown timer so students can keep track to the time at each station.
Area of Focus Station Number: __________ Article Title/Author: ______________________________________________________________________
Source
(Author’s
Perspective?,
When?, Where?,
Why?, Reliable?)
Context
(Do
circumstances in
which article was
written affect its
content?)
Corroboration
(Do other articles
agree or
disagree?, Which
other articles are
on a similar
topic?)
Close Reading
(What are the
claims and
evidence?,
Describe the
language/diction/
syntax.)

REFLECTION/FORMATIVE ASSESSMENT: Have each group use their Investigative Charts to prepare a short oral presentation. Each group should look over their charts for
commonalities. Then, each group should choose a topic that was addressed in multiple articles. Try to ensure that all groups choose different topics. The format of the
presentation should be that each person in the group takes one of the following presentation parts:
First Group Member-State topic and which articles addressed the topic (at least three articles—more if group has more than five people)
Second Group Member--Detail the source, context, and point made concerning the topic in one of the articles
Third Group Member--Detail the source, context, and point made concerning the topic in one of the articles
Fourth Group Member--Detail the source, context, and point made concerning the topic in one of the articles
(-Detail the source, context, and point made concerning the topic in one of the articles--- only if group has more than five people)
Last Group Member--Tell about any corroboration between the sources and the reliability of each
[You could offer bonus for talking about the authors’ styles (language/diction/syntax)]
As the students present, determine if they have been able to discern the information correctly from the articles. Ask questions to dig deeper and/or redirect where
necessary. You may use the Speech Rubric to assess any speaking skills that you want to check for mastery.

SAMPLE LESSON 8
Prior to Lesson: Students should read “The Story of an Hour” by Kate Chopin. This story is available in the Pearson Prentice Hall Literature: The American Experience
textbook for Grade 11 on page 628.
AUTHOR’S CHOICES
BEGINNING: Remind students the they have experienced lessons while reading Kathryn Stockett’s The Help that dealt with analysis of authors’ choices. They looked
closely at choices for characterization, setting, plot line (climax and conclusions), structure, voice, language/diction, storytelling, syntax, etc. Let them know that their job
today is to take what they have learned and use it for analyzing a new piece of literature: “The Story of an Hour” by Kate Chopin.
STUDENT WORKSHOP: Have students respond to the following prompt. Be sure they understand that they are being assessed to see if they have mastered RL.11-12.3
and/or RL.11-12.5. You may give them the LDC Informational Writing Rubric to help the get an idea of what should be included in each section. Let them know if you plan
to assess any of the W.11-12.2 Standard prior to their writing. They are to choose one of the prompts below:
A. In a well-crafted essay, analyze the impact of one or more of Chopin’s choices (e.g., where a story is set, function of the setting, how action is ordered, how the
characters are introduced and developed, which events are included in plot line) regarding how to develop and relate elements of “The Story of an Hour.” Be sure to
support your analysis with textual citations.
B. In a well-crafted essay, analyze how Chopin’s choices concerning how to structure specific parts of the “The Story of an Hour” (e.g., the choice of where to begin or
end a story, the choice to provide a comedic or tragic resolution, the choice of including structural shifts, etc.) contribute to its overall structure and meaning as well
as its aesthetic impact.
REFLECTION/FORMATIVE ASSESSMENT: As students work on the essay, spend time conferencing with them in groups or individually. When the essay is finished, have
students share it electronically with you for inclusion in their digital writing portfolios. Have them put a statement on the front self-assessing their mastery of RL.11-12.3
and/or RL.11-12.5. You should grade this for those two Standards, unless you let them know that you would also be looking at some or all of Standard W.11-12.2. Making
a Summary Document will help if you do decide to assess W.11-12.2 in addition to the RL.11-12.3 &5.

SHORTER LITERARY TEXTS FOR PAIRING
“Why Don’t You Love Us? (Like You Used to Do)” by Nancy Levi Arnez Selections from Sue Monk Kidd’s The Secret Life of Bees
We gave you food we did not want Sample Selection from Chapter Ten
Clothes we could not wear Mr. Hazelwurst had wanted to talk to everyone, so here we were. I'd told him
exactly what happened from the time May answered the telephone to the
Shacks with few big rats
moment we found her in the river. Then he started with the personal questions.
We gave our jobs we did not want to you, Wasn't I that girl who came to the jail last week to see one of the colored boys?
Why don't you love us like you used to do? What was I doing staying here? Who was Rosaleen? I explained everything
We gave you old inner cities about my mother dying when I was small, my father going to his Maker earlier
this summer after a tractor accident, which was the story I was sticking with.
Trigger happy policemen
Rosaleen, I said, was my nanny. "I guess you could say I'm an orphan, " I told
Mute voiced politicians him. "But I've got family in Virginia. It was my father's dying wish for me to go
We gave our schools we did not want to you, live with my aunt Bernie. She's expecting me and Rosaleen both. She'll be
Why don't you love us like you used to do? sending us bus fare or driving down here and picking us up herself. She keeps
saying, "Lily, I can't wait for you to get here. " I tell her, "Just so we're there
We are the most giving of people. before school starts. " I'll be a sophomore, which I cannot believe. " He
We give you foul play all along the way, narrowed his eyes like he was trying to follow all this. I was breaking every rule
We give you emptiness and despair. of successful lying. Do not talk so much, I told myself, but I couldn't seem to
stop. "I am so happy about going to live with her up there. She is real nice. You
Now we give you time to be happy, n______.
wouldn't believe all the stuff she has sent me over the years. Especially costume
Why don't you love us like you used to do? jewelry and teddy bears. One bear after another." I was only glad August and
June were not present to hear this.
“A Mirror to the South (For Emmett Louis Till)” by Will Inman "Now, what was your last name again?" he said.
The dead child's face still watches us who saw "Williams," I said. I had told him this twice already, so I had to wonder what
Its mutilation...we dare not forget, kind of educational requirements they had for policemen in Tiburon. It looked
like the same ones as Sylvan. He drew up even taller. "Well, what I don't
For, deeper than his wounds, he holds a raw
understand is, if you're going to live with your aunt in Virginia, what are you
Mirror to our own negligence. Regret doing here?" Here is the translation: I am completely confused what a white girl
Is an empty word at a child's new grave ... like you is doing staying in a colored house. I took a breath. "Well, see, my aunt
Revenge, the vain trumpet of wasted hours .. Bernie had to have an operation. It was female trouble. So Rosaleen over there
said, "Why don't me and you stay with my friend August Boatwright in Tiburon
Anger, tears, frustration — those can save till Aunt Bernie gets on her feet again?"' It was no sense in us going up there
Others ... but for Till are his last flowers... while she was in the hospital. " He was actually writing this down. Why? I
From now on in Mississippi, in the South, wanted to yell at him, This is not about me and Rosaleen and Aunt Bernie's
Let our white faces wear the cardinal stain operation. This is about May. She is dead, or haven't you noticed? I should've
been in my room right then crying my eyeballs out, and here I was having the
Of guilt along the edges of our mouth: stupidest conversation of my life.
Asked of our brothers, we bare teeth of Cain! "Didn't you have any white people back in Spartanburg you could stay with?"
So let it be … until no human face Translation: Anything would be better than you staying in a colored house. . .
Wear anguish for its creed … nor for its race.
“Once Upon a Time” by Lulu Wesbrook Griffin After he stepped outside, he said, "Take my advice and call your aunt and tell
her to come on and get you, even if she isn't a hundred percent well. These are
Once upon a time colored people here. You understand what I'm saying?"
In the Hometown of mine I wrinkled up my forehead. "No, sir, I'm afraid I don't. "
During the early Sixties; was hatred, bigotry "I'm just saying it's not natural, that you shouldn't be ... Well, lowering yourself.
" "Oh. "
And Crime.
"I'm gonna come back soon, and I better not find you still here. Okay?" He
The Law said: smiled and put his gigantic hand on my head like we were two white people
Colours; were Black with a secret understanding.
"Okay. " I closed the door behind him.
And White people
Governed by JIM CROW Laws
Selections from Pat Cunningham Devoto’s The Summer We Got Saved
All separated by train tracks
Without any real cause.
“The Story of an Hour” by Kate Chopin
There was tension in the air
Separation and Segregationists
Were every where
Through signs of despair
Sadness and gloom
New hope and bright future
was about to bloom.

INFORMATIONAL TEXTS FOR PAIRING
The Maid’s Tale: Kathryn Stockett Examines Slavery and Racism in the Deep South (Article and Audio)
Q & A with Kathryn Stockett in Time Magazine
This Life: Kathryn Stockett on her Childhood in the Deep South
Meet Octavia Spencer, “Minny” of The Help
Racial Insults and Quiet Bravery in 1960s Mississippi
A Silence Broken: The Help by Kathryn Stockett
The Help: A Review of Kathryn Stockett’s Controversial Book-To-Film About Black Maids
Blog Review Vulpes Libris
As a Linguist Review of The Help
Black Women Historians come out against The Help
Civil Rights Act
MEDIA/VISUAL TEXTS FOR PAIRING
Voices of The Help: Domestic Workers Tell Their Stories

The Help Author on Book’s Racial Viewpoint
The Help (movie) Amazon Rental
The Help (Movie Set)
Bob Dylan’s “The Times They Are a Changin’”
Patsy Cline’s “Walking After Midnight
Jim Crow PBS Video Series
The Maid’s Tale: Kathryn Stockett Examines Slavery and Racism in the Deep South (Article and Audio)
Warwick’s Books/Kathryn Stockett and Octavia Spencer Book Reading Part One
Warwick’s Books/Kathryn Stockett and Octavia Spencer Book Reading Part Two
Warwick’s Books/Kathryn Stockett and Octavia Spencer Book Reading Part Three
Warwick’s Books/Kathryn Stockett and Octavia Spencer Book Reading Part Four
Cover of Life mentioned in the last paragraph of Chapter 14. Medgar Evers’ funeral procession from Life article.
Coverage of Medgar Evers’ death in Jackson, Mississippi paper

OHIO’S LEARNING STANDARDS-CLEAR LEARNING TARGETS
ENGLISH LANGUAGE ARTS-READING LITERATURE, GRADES 11-12
ANALYZE THE IMPACT OF Essential Understanding Academic
RL.11-12.3 THE AUTHOR’S CHOICES -Understand and identify

author’s choices in regards
Vocabulary/Language
-analyze
to literary elements such as
REGARDING HOW TO plot line & characterization
-develop
-figurative language
DEVELOP AND RELATE -Understand and identify *See your adopted
ELEMENTS OF A STORY OR DRAMA (E.G., varied literary elements and

storytelling techniques
textbook’s glossary for
grade-level appropriate
WHERE A STORY IS SET, HOW ACTION IS literary elements as they
-Analyze the impact of
ORDERED, HOW THE CHARACTERS ARE author’s choices on are too numerous to list
development of and here.
INTRODUCED AND DEVELOPED). relationships between -impact
literary elements in a story -literary elements
CCR ANCHOR: ANALYZE HOW AND WHY INDIVIDUALS, EVENTS, AND IDEAS or drama
(plot, theme, setting, tone,
DEVELOP AND INTERACT OVER THE COURSE OF A TEXT. diction, characterization, etc.)
BROAD LEARNING TARGETS:

The students can analyze the impact of the author’s choices regarding how to
develop and relate elements of a story or drama.
Underpinning Knowledge Learning Targets:
ULTIMATE LEARNING The student can understand and identify varied literary elements (plot, theme,
TARGET TYPE: REASONING characterization, etc.) and storytelling techniques (deus ex machina, unreliable narrator,
flashback, etc.) in a text.
Underpinning Reasoning Learning Targets:
The student can analyze how elements of a story or drama are developed and/or
interrelated.

OHIO’S LEARNING STANDARDS-CLEAR LEARNING TARGETS
ENGLISH LANGUAGE ARTS-READING LITERATURE, GRADES 11-12
Essential Understanding
ANALYZE HOW AN AUTHOR’S -Identify and understand Academic
Vocabulary/Language
RL.11-12.5 CHOICES CONCERNING HOW
TO STRUCTURE SPECIFIC PARTS
varied literary text structures
and their parts (aside, -aesthetic
stanza, exposition, scene,
OF A TEXT (E.G., THE CHOICE resolution, etc.) -analyze
-Identify and understand -comedic/tragic
OF WHERE TO BEGIN OR END A varied storytelling
-contribute
STORY, THE CHOICE TO PROVIDE A COMEDIC OR TRAGIC techniques (en medias res,
pacing, flashback, etc.) -dramatic, prose, and
RESOLUTION) CONTRIBUTE TO ITS OVERALL STRUCTURE -Recognize when author’s poetic structures and
AND MEANING AS WELL AS ITS AESTHETIC IMPACT. use structural parts and storytelling techniques
storytelling techniques to (parallel plots, pacing,
contribute to overall chronological,
structure and for aesthetic
cause/effect, aside, scene,
impact
CCR ANCHOR: ANALYZE THE STRUCTURE OF TEXTS, INCLUDING HOW -Analyze how dramatic, verse, line, soliloquy,
SPECIFIC SENTENCES, PARAGRAPHS, AND LARGER PORTIONS OF THE TEXT poetic, and prose structural stanza types, flashback,
(E.G., A SECTION, CHAPTER, SCENE, OR STANZA) RELATE TO EACH OTHER AND parts and storytelling multiple narrators, time
THE WHOLE. techniques contribute to shifts, etc.)
meaning and aesthetics -impact
-resolution
BROAD LEARNING TARGETS:

The student can analyze how author’s choices concerning how to structure specific parts
of a text contribute to its overall structure and meaning as well as its aesthetic impact .
ULTIMATE LEARNING Underpinning Knowledge Learning Targets:
TARGET TYPE: REASONING The student can identify varied poetic, dramatic, and prose text structures and their parts.
The student can identify varied poetic, dramatic, and prose storytelling techniques.
The student can identify and understand aesthetic impact.

OHIO’S LEARNING STANDARDS-CLEAR LEARNING TARGETS: ENGLISH LANGUAGE ARTS-WRITING, GRADES 11-12
Essential Components
WRITE ARGUMENTS TO W.11-12.1.a-e Academic
Vocabulary/Language
W.11-12.1 SUPPORT CLAIMS IN AN
ANALYSIS OF SUBSTANTIVE
a. Introduce precise claim(s), establish the significance of the claim(s),
distinguish the claim(s) from alternate or opposing claims, and create -ABTATO, PETs, TOO (or comparable
organizational structures for writing
an organization that logically sequences claim(s), counterclaims,
arguments with developed intros, bodies,
TOPICS OR TEXTS, USING VALID reasons, and evidence. and conclusions)
REASONING AND RELEVANT AND SUFFICIENT EVIDENCE. -analyze/analysis -anticipates

b. Develop claim(s) and counterclaims fairly and thoroughly, supplying
the most relevant evidence for each while pointing out the strengths -argument -bias
and limitations of both in a manner that anticipates the audience’s -cite -claim/counterclaim
knowledge level, concerns, values, and possible biases. -clarify -clauses
c. Use words, phrases, and clauses as well as varied syntax to link the -cohesion -conventions
major sections of the text, create cohesion, and clarify the relationships -credible -distinguish
between claim(s) and reasons, between reasons and evidence, and -establish -evidence
CCR ANCHOR: WRITE ARGUMENTS TO SUPPORT CLAIMS IN AN ANALYSIS between claim(s) and counterclaims. -formal style -inference
OF SUBSTANTIVE TOPICS OR TEXTS, USING VALID REASONING AND d. Establish and maintain a formal style and objective tone while -logos/pathos/ethos
-maintain -objective tone
RELEVANT AND SUFFICIENT EVIDENCE. attending to the norms and conventions of the discipline in which they
are writing. -phrases -precise

e. Provide a concluding statement or section that follows from and -reasons -relevant
supports the argument presented. -sequence -substantive
Essential Understanding -sufficient -syntax
-MLA Formatting for in-text citations and works cited pages -textual evidence -valid -warrant
BROAD LEARNING TARGET:

The student can write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
The student can define, identify, and use argument, claim, warrant, and counterclaim.
The student can recognize and use strategies and techniques for introducing, organizing, and concluding arguments.
ULTIMATE The student can recognize and use strategies & techniques for introducing precise claims, establishing the significance of the claim(s), distinguishing them from opposing counterclaims,
while establishing clear relationships among claims, counterclaims, reasons, & evidence through use of words, phrases, & clauses.
LEARNING TARGET The student can recognize and use strategies and techniques for developing claims and counterclaims fairly and thoroughly, supplying them with the most relevant evidence, and
pointing out strengths and limitations for audience needs and possible biases.
TYPE: PRODUCT Underpinning Reasoning Learning Targets:
The student can analyze the accurateness and credibility of sources and evaluate the validity, relevance, and sufficiency of reasons and evidence.
The student can distinguish between formal and informal writing styles and use formal style in argument writing.
The student can distinguish between logos, pathos, and ethos; and use logical reasoning for argument writing.
The student can analyze a substantive topic/text through argument writing.
Underpinning Product Learning Targets: The student can use correct MLA format for in-text citations and works cited pages.

Essential Components W.11-12.2.a-f Academic
WRITE INFORMATIVE/ a. Introduce a topic; organize complex ideas, concepts, and information so that
each new element builds on that which precedes it to create a unified whole;
Vocabulary/Language
W.11-12.2 EXPLANATORY TEXTS TO -ABTATO, PETs, TOO (or comparable

include formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia organizational structures for writing
informative/explanatory text with
EXAMINE AND CONVEY when useful to aiding comprehension.
b. Develop the topic thoroughly by selecting the most significant and relevant
developed intros, bodies, and conclusions)
-analyze/analysis -articulate
COMPLEX IDEAS, facts, extended definitions, concrete details, quotations, or other information and
-cite -clarify -cohesion
-complex ideas and concepts
-concrete details -convey
CONCEPTS, AND INFORMATION CLEARLY AND examples appropriate to the audience’s knowledge of the topic.
c. Use appropriate and varied transitions and syntax to link the major sections of
-develop -distinctions
-domain-specific/tier three vocab
ACCURATELY THROUGH THE EFFECTIVE SELECTION, the text, create cohesion, and clarify the relationships among complex ideas and
-establish
-extended definitions
-examine
ORGANIZATION, AND ANALYSIS OF CONTENT. concepts. -formal/informal styles

-implications -informative/explanatory text
d. Use precise language, domain-specific vocabulary, and techniques such as -literary techniques (metaphor, simile, analogy . ..
-maintain -multimedia
metaphor, simile, and analogy to manage the complexity of the topic.
-organizational strategies (definition,
e. Establish and maintain a formal style and objective tone while attending to the classification, comparison/contrast, cause/effect)
-precede -precise
CCR ANCHOR: WRITE INFORMATIVE/EXPLANATORY TEXTS TO norms and conventions of the discipline in which they are writing. -relevant -sufficient -syntax
-topic -transitions
EXAMINE AND CONVEY COMPLEX IDEAS AND INFORMATION CLEARLY f. Provide a concluding statement or section that follows from and supports the
AND ACCURATELY THROUGH THE EFFECTIVE SELECTION, information or explanation presented (e.g., articulating implications or the
significance of the topic).

ORGANIZATION, AND ANALYSIS OF CONTENT.
Essential Understanding
-MLA Formatting for in-text citations and works cited pages

The student can write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection,
organization, and analysis of content.
The student can define, identify, and use varied cohesive and appropriate transitions, precise language, domain-specific vocabulary, and literary techniques to manage the complexity of the
topic, link major sections of the text, and clarify relationships among complex ideas and concepts.
ULTIMATE The student can recognize and use strategies & techniques for introducing (including previewing), organizing (with each new element building upon preceding points to create a unified whole)
LEARNING & concluding informative/explanatory texts that clearly & accurately examine & convey complex ideas, concepts, & information.

TARGET TYPE:
The student can analyze the credibility and accuracy of sources and relevant content in those sources for inclusion in informative/explanatory writings.
PRODUCT The student can distinguish between formal & informal writing styles and objective and subjective tone; and use formal style and objective tone in informational/explanatory writing.
The student can examine complex ideas, concepts, and information through informative/explanatory writing by selecting the most significant and relevant facts, extended definitions, concrete
details, quotations, or other examples appropriate to audience.
Underpinning Product Learning Targets:

The student can include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension of informative/explanatory texts.
The student can use correct MLA format formatting papers, in-text citations, and works cited pages.

Essential Components Academic
WRITE NARRATIVES TO W.11-12.3.a-e Vocabulary/Language
a. Engage and orient the reader by setting out a
DEVELOP REAL OR IMAGINED -analyze
W.11-12.3
problem, situation, or observation and its significance, -characters/characterization
-clauses -coherent
EXPERIENCES OR EVENTS establishing one or multiple point(s) of view, and -convey
-develop
-detail
-elaborate
introducing a narrator and/or characters; create a
USING EFFECTIVE TECHNIQUE, smooth progression of experiences or events.
-elements of plot (exposition, rising action,
climax, falling action, denouement, resolution,
conflict, protagonist/antagonist)
WELL-CHOSEN DETAILS, AND b. Use narrative techniques, such as dialogue, pacing, -elements of prose (diction, syntax, imagery,
figurative language, style, theme, tone, etc.)
description, reflection, and multiple plot lines, to
WELL-STRUCTURED EVENT SEQUENCES. develop experiences, events, and/or characters.
-engage
-illustrate
-establish
-interact
-event
-narrative
-narrative techniques (dialogue, pacing,
c. Use a variety of techniques to sequence events so description, flashback, foreshadow, framing
device, multiple plot lines, reflection, shift, time
that they build on one another to create a coherent
frame, point of view)
whole and build toward a particular tone and outcome -narrator -orient
-phrases -point of view
(e.g., a sense of mystery, suspense, growth, or -precise -progression
-reflection -relevant
resolution).
-sensory language -sequence
d. Use precise words and phrases, telling details, and -sequence technique outcomes (sense of
CCR ANCHOR: WRITE NARRATIVES TO DEVELOP REAL OR IMAGINED mystery, suspense, growth, resolution)
sensory language to convey a vivid picture of the
EXPERIENCES OR EVENTS USING EFFECTIVE TECHNIQUE, WELL-CHOSEN -setting
-vivid
-signal -tone
experiences, events, setting, and/or characters.
DETAILS, AND WELL-STRUCTURED EVENT SEQUENCES. e. Provide a conclusion that follows from and reflects
on what is experienced, observed, or resolved over the
course of the narrative.
*Extended Understanding
-Extend a short narrative into a novella or novel

ULTIMATE LEARNING The student can write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event
sequences.
TARGET TYPE: Underpinning Knowledge Learning Targets:
PRODUCT The student can define, identify, and use elements of prose (style, theme, tone . . .), elements of plot (conflict, climax, protagonist . . .), sequencing techniques (building suspense,
mystery, resolution), and narrative techniques (dialogue, pacing, description, reflection, multiple plot lines, . . .) to develop experiences, events, and characters into a coherent
whole.
The student can define, identify, and use a variety of transitional words, phrases, and clauses to connect sequences of events, shifts in time, changes in settings, and relationships
Career Connections among experiences and events.
The student can define, identify, and use precise, grade-level appropriate vocabulary, sensory language, and figurative language to convey a vivid picture of the experiences,
http://www.ccsoh.us/ELA6- events, setting, and/or characters.
12.aspx (Click on Career
Connections for English
The student can engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple point(s) of view, introducing a
Language Arts) narrator and/or characters, and creating a smooth progression of experiences or events.
The student can provide a conclusion that follows from and reflects on the experiences, observations, and resolutions in the narrative.

ACKNOWLEDGEMENTS TEACHER RESOURCE WRITERS
This Teacher Resource was created during the summer of 2016 as part of Carla Mae Phillips, Lead 6-12 Curriculum Coordinator
an initiative to increase textual choice for teaching Ohio’s Learning Timothy Wangler, 6-12 Curriculum Coordinator
Standards. It is part of a series of Teacher Resources for the following
Tracie Helmbrecht, NBCT
newly adopted supplemental literature. Note: Please adhere to the grade
level chosen for each title to avoid textual overlap for our students. Gina McGowan
Pam Reed
Grade Six Lynn Taylor, NBCT
A Midsummer Night’s Dream by William Shakespeare Melanie Thompson
(No Fear Shakespeare Edition)
Hello, Universe by Erin Kelly Supplemental Resources for The Help ___________________________
Grade Seven NOTE: The lessons included in these supplemental resources may not be
The Crossover by Kwame Alexander aligned to Ohio’s Learning Standards or the Common Core. Please make
Grade Eight choices about using any of the lessons and ideas included here based
upon how they can help students meet and exceed learning targets.
The Taming of the Shrew by William Shakespeare
Penguin Teacher’s Guide
NDLA Open Education Resource
Grade Nine
Mississippi Department of Archives and History Extension Lesson
Brown Girl Dreaming by Jacqueline Woodson
History and Pop Culture in The Help
Grade Ten
Shmoop: The Help
Othello by William Shakespeare
Long Way Down by Jason Reynolds
Grade Eleven
The Help by Kathryn Stockett
Grade Twelve
Twelfth Night by William Shakespeare

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TEACHER RESOURCE FOR THE HELP BY KATHRYN STOCKETT ANCHOR TEXT THE HELP

(Order Copies from CCS Book Warehouse)

OHIO’S LEARNING POWER STANDARDS RESOURCE FOCUS

SAMPLE LESSON 1 SAMPLE LESSON 2 SAMPLE LESSON 3 SAMPLE LESSON 4

SAMPLE LESSON 5 SAMPLE LESSON 6 SAMPLE LESSON 7 SAMPLE LESSON 8

Argument Informative/Explanatory Narrative

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 1

Elements of Elements of Character Elements of Diction Elements of Syntax

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 2

Aibileen Minny Skeeter

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 3

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 4

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 5

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 6

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 8

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 9

Who is speaking? Whites

When?/Where? From Slavery Times through Present Day

Why?/Purpose? Show that the “charity” of Whites is not about caring; it is

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 10

Aibileen Minny Skeeter Mae Mobley

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 11

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 12

Area of Focus Station Number: __________ Article Title/Author: ______________________________________________________________________

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 13

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 14

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 15

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 17

MEDIA/VISUAL TEXTS FOR PAIRING

Voices of The Help: Domestic Workers Tell Their Stories

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 20

ANALYZE THE IMPACT OF Essential Understanding Academic

RL.11-12.3 THE AUTHOR’S CHOICES -Understand and identify

ELEMENTS OF A STORY OR DRAMA (E.G., varied literary elements and

BROAD LEARNING TARGETS:

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 21

BROAD LEARNING TARGETS:

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 22

REASONING AND RELEVANT AND SUFFICIENT EVIDENCE. -analyze/analysis -anticipates

are writing. -phrases -precise

BROAD LEARNING TARGET:

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 23

W.11-12.2 EXPLANATORY TEXTS TO -ABTATO, PETs, TOO (or comparable

ORGANIZATION, AND ANALYSIS OF CONTENT. concepts. -formal/informal styles

significance of the topic).

BROAD LEARNING TARGET:

Underpinning Reasoning Learning Targets:

Underpinning Product Learning Targets:

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 24

BROAD LEARNING TARGET:

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 25

English Language Arts 6-12 Curriculum, https://tinyurl.com/CCSEnglish6-12 26

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Area of Focus Station Number: Article Title/Author: ____________________________________________________________