Grade 6 Spring — Rhetorical Devices, Sentence Craft, and Formal Multi-Pass Peer Revision Protocols

Unit-opener: a Grade-6 rhetorician at a workshop table with a mentor speech (King 'I Have a Dream') open with passages highlighted (anaphora in red, parallelism in blue, rhetorical question in purple), an MG-7 rhetorical-devices reference card to the side, a typed literary-analysis essay draft with device markings, a SOAP analysis grid (Speaker/Occasion/Audience/Purpose), a 3-pass peer-revision rubric on the wall (Pass 1 Content purple / Pass 2 Sentence blue / Pass 3 Mechanics green), a presentation script with devices color-coded for delivery, a wall display behind showing the FIVE NAMED RHETORICAL DEVICES (parallelism=blue, anaphora=red, asyndeton=orange, rhetorical question=purple, antithesis=green) plus ETHOS-PATHOS-LOGOS retained from fall, plus the semicolon-and-colon rule card. Style: warm watercolor, multicultural middle-school classroom, eye-level shot, dyslexic-friendly classroom labels visible. Print-ready 11x17.

Rhetorical-devices master anchor: 6-band stacked card with each device labeled and color-coded. PARALLELISM (blue) — matching grammatical structure; example: 'We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields' (Churchill). ANAPHORA (red) — repetition at start of successive clauses; example: 'I have a dream that... I have a dream that... I have a dream that...' (King). ASYNDETON (orange) — omission of conjunctions; example: 'I came, I saw, I conquered' (Caesar). RHETORICAL QUESTION (purple) — question for effect; example: 'What to the Slave Is the Fourth of July?' (Douglass). ANTITHESIS (green) — contrast in parallel structure; example: 'Ask not what your country can do for you — ask what you can do for your country' (Kennedy). ETHOS/PATHOS/LOGOS (gold, retained from fall) — the three modes of persuasion. Bottom rule: 'These are tools — use them deliberately, for effect.' Print-ready 11x17.

Parallelism anchor (L.6.1.e applied): 3-band card. BAND 1 — RULE: 'When you list items or ideas, match their grammatical form.' BAND 2 — RIGHT vs. WRONG examples: RIGHT 'She likes reading, writing, and hiking.' (all gerunds) WRONG 'She likes reading, writing, and to hike.' (gerund-gerund-infinitive — broken). RIGHT 'We came to learn, to teach, and to lead.' (all infinitives). WRONG 'We came to learn, to teach, and leading.' (broken). BAND 3 — WORKED EXAMPLES from mentor texts: 'Government OF the people, BY the people, FOR the people.' (Lincoln — parallel prepositional phrases). 'Not by the COLOR of their skin BUT by the CONTENT of their character.' (King — parallel + antithesis). 'I came, I saw, I conquered.' (Caesar — parallel + asyndeton). Print-ready 11x17.

Anaphora anchor: 3-band card. BAND 1 — RULE: 'Repeat the same words or phrase at the START of successive clauses or sentences.' BAND 2 — EFFECT: 'Each repetition raises the emotional and logical stakes. Breaking the pattern signals climax.' BAND 3 — WORKED EXAMPLES: King 'I have a dream that... I have a dream that... I have a dream today.' (4 anaphoras; break on final = climax). Vanessa Nakate 'I speak for the children... I speak for the farmers... I speak for the future.' Lincoln 'we cannot dedicate, we cannot consecrate, we cannot hallow this ground.' Bottom: 'Try 3 anaphoras minimum; the 4th can break for emphasis.' Print-ready 11x17.

Asyndeton anchor: 3-band card. BAND 1 — RULE: 'OMIT the conjunctions (and/but/or) in a list of three or more items.' BAND 2 — EFFECT: 'Creates compressed, decisive, urgent rhythm. Speed over emphasis.' BAND 3 — COMPARISON: WITH conjunctions (polysyndeton or normal): 'I came AND I saw AND I conquered.' (slower, additive). WITHOUT (asyndeton): 'I came, I saw, I conquered.' (faster, decisive). Murakami example: 'The wall, the egg, the silence.' Bottom rule: 'Asyndeton signals urgency or decisiveness. Use sparingly — the effect depends on rarity.' Print-ready 11x17.

Rhetorical question anchor: 3-band card. BAND 1 — RULE: 'Pose a question to which you do NOT expect an answer — you want the audience to feel they have arrived at the answer themselves.' BAND 2 — EFFECT: 'Engages audience as co-thinker. More persuasive than a flat statement.' BAND 3 — WORKED EXAMPLES: Douglass 'What to the Slave Is the Fourth of July?' (title is a rhetorical question — the listener feels the answer). Adichie 'How many stories must we hear before we believe the danger of a single story?' Wangari Maathai 'Are we not all children of this earth?' Bottom: '5 starter stems — How can we ___? Who among us ___? What does it mean to ___? Is this not ___? When will we ___?' Print-ready 11x17.

Antithesis anchor (introduction): 3-band card. BAND 1 — RULE: 'Set two CONTRASTING ideas in PARALLEL grammatical structure. Antithesis = parallelism + contrast.' BAND 2 — EFFECT: 'The parallel structure makes the contrast inescapable and memorable.' BAND 3 — WORKED EXAMPLES: Kennedy 'Ask not what your country can do for you — ask what you can do for your country.' (parallel imperative + contrast). Lincoln 'The world will little note nor long remember what we say here, but it can never forget what they did here.' (parallel verbs + contrast). King 'not by the color of their skin but by the content of their character.' (parallel prepositional phrase + contrast). Bottom rule: 'Antithesis = parallel structure on a contrast. Both halves must match grammatically.' Print-ready 11x17.

Active vs. passive voice anchor (L.6.3.a): 3-band card. BAND 1 — RULE: 'ACTIVE = subject does the verb (Maya wrote the essay). PASSIVE = subject receives the verb (The essay was written by Maya / The essay was written).' BAND 2 — WHEN TO USE PASSIVE DELIBERATELY: (a) AGENT UNKNOWN — 'The window was broken' (we don't know who). (b) SCIENTIFIC OBJECTIVITY — 'The mixture was heated to 100°C' (focus on process). (c) AGENT-OBSCURING for argument — 'Mistakes were made' (politician avoiding blame — a rhetorical move). (d) RHYTHM — to vary sentence opening when needed. BAND 3 — PARAMEDIC METHOD (Lanham): 5 steps to convert passive-zombie to active-agent: 1. Find the action. 2. Find the actor. 3. Put actor first. 4. Convert verb-noun ('made a decision' → 'decided'). 5. Cut prepositions. Bottom rule: 'Default to active for vigor. Choose passive deliberately when one of the 4 reasons applies.' Print-ready 11x17.

Sentence rhythm anchor: 3-band card. BAND 1 — SHORT for emphasis: 'Stop. Listen. This matters.' (3 short sentences = stop-and-attention). BAND 2 — LONG for development: 'When the bell rang at the end of the long day, after the test had been collected and the desks had been straightened and the lights had been dimmed, Maya finally exhaled.' (1 long sentence = sustained, accumulating). BAND 3 — TRICOLON (3-part parallel) for memorable closure: 'government of the people, by the people, for the people' (Lincoln). 'Veni, vidi, vici.' (Caesar). 'I came, I saw, I conquered.' Bottom rule: 'Vary the lengths. A paragraph of all-medium sentences puts readers to sleep. A short sentence after a long one = emphasis.' Print-ready 11x17.

Semicolon rules anchor (L.6.2.b): 3-rule card. RULE 1 — JOIN two independent clauses without a conjunction: 'Maya brought cookies; Sara brought juice.' (Both halves are complete sentences.) RULE 2 — BEFORE a conjunctive adverb (however/therefore/moreover/nevertheless/consequently/thus) joining two independent clauses, with COMMA after the adverb: 'Maya brought cookies; however, Sara forgot the juice.' RULE 3 — In a COMPLEX LIST where items already contain commas: 'The trip stopped in Boston, Massachusetts; New Haven, Connecticut; and Princeton, New Jersey.' Bottom: 'A semicolon is stronger than a comma but weaker than a period. Use it to show two ideas are closely related but each could stand alone.' Print-ready 11x17.

Colon rules anchor (L.6.2.b): 4-rule card. RULE 1 — Introduce a LIST: 'Bring three items: a pencil, a notebook, and an open mind.' RULE 2 — Introduce an APPOSITIVE (a name or summary of what came before): 'There is only one rule: respect.' RULE 3 — Before a QUOTATION (especially a formal or long one): 'Lincoln declared: "government of the people, by the people, for the people."' RULE 4 — Between TWO INDEPENDENT CLAUSES where the second EXPLAINS or AMPLIFIES the first: 'Maya knew the answer: she had practiced every night.' Bottom rule: 'A colon promises: 'something explanatory is coming.' Whatever follows must deliver on that promise.' Print-ready 11x17.

Denotation vs. connotation anchor (L.6.5.b/c): 2-column card. DENOTATION (left, gray) = DICTIONARY meaning: 'a place where someone lives.' Words with same denotation: house, home, residence, dwelling, abode. CONNOTATION (right, colored) = CULTURAL/EMOTIONAL associations: HOUSE (neutral — a building), HOME (warm — family/safety/belonging), RESIDENCE (formal/cold — legal or distant), DWELLING (literary/old — fairy tale or technical), ABODE (humorous or archaic — 'my humble abode'). Bottom rule: 'Choose deliberately. The connotation is what your reader FEELS about the word, even when the denotation is the same.' Worked example with the gradient: 'thin' (slender = positive; emaciated = negative; both denote 'lacking weight'). Print-ready 11x17.

Idiom-analysis anchor (L.6.5.a): 4-field card. FIELD 1 — IDIOM phrase ('kick the bucket'). FIELD 2 — LITERAL meaning ('to physically kick a pail'). FIELD 3 — FIGURATIVE meaning ('to die'). FIELD 4 — CULTURAL ORIGIN (debated — possibly from medieval hanging or slaughterhouse; mostly British/American English). FIELD 5 — REGISTER (informal, can be flippant). FIELD 6 — AUDIENCE APPROPRIATENESS (NOT for formal writing; consider whether the topic of death is appropriate to the audience). Worked examples for: Achilles' heel (Greek myth — vulnerability), break the ice (medieval — to start a conversation), the apple of his eye (Old English — favorite), kick the can down the road (American — postpone), spill the beans (American — reveal a secret), tower of Babel (Hebrew Bible — confused communication). Bottom rule: 'Idioms carry culture. Before using, check origin, register, and audience.' Print-ready 11x17.

Analogy-completion anchor (L.6.5.b): 4-relation card. RELATION 1 — SYNONYM/ANTONYM: 'big:large::small:tiny' (synonym); 'hot:cold::up:down' (antonym). RELATION 2 — PART/WHOLE: 'finger:hand::petal:flower'; 'page:book::brick:wall'. RELATION 3 — CAUSE/EFFECT: 'rain:flood::study:knowledge'; 'fire:smoke::practice:skill'. RELATION 4 — ITEM/CATEGORY: 'rose:flower::oak:tree'; 'tuna:fish::sparrow:bird'. STEP-BY-STEP method to complete an analogy: 1. NAME the relation between a and b (e.g., 'part/whole'). 2. APPLY same relation between c and d. 3. CHECK reversibility (does b:a::d:c also work?). Bottom: 'Analogy is the workhorse of word-relationship vocabulary. Naming the relation IS the answer.' Print-ready 11x17.

Tier-2 Set 14 rhetorical/literary-analysis vocabulary anchor: 15-word grid. WORDS: rhetoric, device, parallelism, anaphora, asyndeton, antithesis, tricolon, juxtaposition, register, audience, persona, tone, voice, rhythm, cadence. Each cell: word + 1-sentence definition + example-of-use-in-rhetorical-analysis ('The writer's use of anaphora creates ___'; 'The rhetorical device of ___ emphasizes ___'; 'The juxtaposition of ___ with ___ reveals ___'). Print-ready 11x17, dyslexic-friendly font.

3-pass peer-revision protocol anchor: 3-band stacked card. PASS 1 — CONTENT (purple, 14 criteria — extends fall MG-21): claim arguable / evidence credible / warrant explained / audience considered / counterclaim addressed / structure follows MPO / introduction hooks / conclusion synthesizes. PASS 2 — SENTENCE-LEVEL (blue, 10 criteria — NEW at G6-spring): parallelism applied / anaphora applied / 1 more device applied / active voice default / passive used only deliberately / sentence rhythm varied (short-long mix) / tricolon present somewhere / sentence openings varied / no unnecessary 'there is/are' / no 'be-verb' overuse. PASS 3 — MECHANICS (green, 12 criteria — NEW at G6-spring): pronoun case correct / intensive pronouns correct / pronoun consistency / vague-pronoun antecedents clear / semicolon used correctly (at least once) / colon used correctly (at least once) / commas for nonrestrictive / commas in compound sentences / spelling clean / capitalization clean / quotation punctuation / italics for titles. Bottom rule: 'ONE PASS AT A TIME. Doing all three at once is worse than doing each well.' Print-ready 11x17.

SOAP framework anchor (for rhetorical analysis): 4-field card. SPEAKER (S) — Who is speaking? What is their credibility/persona/role? OCCASION (O) — When and where is the speech given? What was happening at the time? AUDIENCE (A) — Who is listening? What do they know, value, fear? PURPOSE (P) — What is the speaker trying to achieve? Inform / persuade / commemorate / inspire / mobilize? Worked example for King 'I Have a Dream': S = MLK, civil rights leader, Baptist minister, age 34; O = 28 August 1963 March on Washington at Lincoln Memorial; A = 250,000 marchers, national TV audience, US government; P = to mobilize support for civil rights legislation and to articulate the moral case for racial equality. Bottom: 'SOAP analysis precedes device analysis. Devices serve purpose for audience.' Print-ready 11x17.

Literary-analysis-of-rhetoric essay structure anchor: 4-paragraph (or 5-paragraph) card. PARAGRAPH 1 — INTRODUCTION with SOAP intro: name the speech, the speaker, the occasion, the audience, the purpose. State your THESIS — 'In [speech title], [speaker] uses [device 1], [device 2], and [device 3] to [achieve purpose].' PARAGRAPHS 2-3 (or 2-4) — DEVICE-ANALYSIS bodies: each body paragraph analyzes ONE device. TOPIC SENTENCE names the device + claim about its effect. EVIDENCE = an embedded quotation showing the device in action. WARRANT = explanation of HOW the device serves the speaker's purpose. PARAGRAPH 4 (or 5) — SO-WHAT CONCLUSION: synthesize — what does the writer's rhetorical choice reveal about their argument's strategy? Bottom: 'You are analyzing HOW the writer argues, not WHAT they argue. Stay close to the language.' Print-ready 11x17.

Rhetorical-performance script template: a presentation-script page with device-highlighting key. KEY (bottom): anaphora = YELLOW highlight; rhetorical question = PURPLE highlight + [PAUSE] marker; parallelism = BLUE underline; antithesis = GREEN highlight; asyndeton = ORANGE marks between items; stress = BOLD; pause = / mark. Worked sample: 'We will not stand by. We will not turn away. We will not be silent. [PAUSE — anaphora climax.] These children, these schools, these futures: they belong to all of us. [Tricolon — asyndeton.] Are we not their advocates? [Rhetorical question — PAUSE for 1 beat.]' Print-ready 8.5x11.

5:00 model of a Grade-6 rhetorician analyzing King's 'I Have a Dream' for rhetorical devices: child reads paragraph 14 ('I have a dream that one day...'), identifies ANAPHORA (highlight in red), names the effect (accumulating force as each clause builds the vision), identifies PARALLELISM (same grammatical structure across the four 'I have a dream that' clauses — highlight in blue), identifies ANTITHESIS later in the speech ('not by the color of their skin but by the content of their character' — highlight in green). Voiceover narration explains: 'King repeats I have a dream that to build emotional momentum. Each repetition raises the stakes. By the fourth repetition the audience is leaning in. Then he varies the pattern with a longer image — that's the climax.' Multicultural child voice. Caption track on.

5:00 model of a Grade-6 three-pass peer-revision conference. 0:00-1:30 PASS 1 CONTENT — partner reads the draft cold, names whether the claim is arguable, whether the evidence supports it, whether the warrant explains. Quotes a line. Uses MG-16 Pass 1 checklist. 1:30-3:00 PASS 2 SENTENCE — partner re-reads looking for rhetorical devices applied. Highlights anaphora in red, parallelism in blue. Suggests one more device to add. Uses MG-16 Pass 2 checklist. 3:00-5:00 PASS 3 MECHANICS — partner re-reads with proofing eye. Catches a pronoun-case slip, a missing semicolon between two independent clauses, and a vague pronoun. Uses MG-16 Pass 3 checklist. Closing 30 seconds: writer summarizes top revision target from EACH pass. Real-feel middle-school classroom.

4:00 model of a Grade-6 rhetorical performance. Child stands at podium, holds a printed script with devices color-coded per MG-19. Delivers a 90-second excerpt of their original argument. Anaphora moments (yellow highlights) delivered with rising voice. Rhetorical questions (purple) followed by deliberate 1-beat pauses. Parallelism (blue underline) emphasized with parallel hand gesture. Tricolon delivered as climax. Voiceover/teacher narration off-screen names what the student is doing: 'Notice the pause after the rhetorical question — she lets the audience feel they've answered it themselves.' Multicultural classroom. Audience visible reacting (nodding, leaning in).

Rhetorician's Forum publication planning poster: 3-section card. TOP: published 4-5 paragraph literary-analysis-of-rhetoric essay with device-identification highlights (anaphora red, parallelism blue, asyndeton orange, rhetorical question purple, antithesis green) PLUS a 5-6 paragraph original argument with at least 3 rhetorical devices applied (same color key) PLUS works-cited list. MIDDLE: rhetorical-performance script with device-marking key (per MG-19). BOTTOM: oral-presentation plan (90-second performance + 30-second Q&A on chosen device — 'why did you use anaphora here, and what effect were you going for?'). Each child gets tri-fold display board. Print-ready 11x17.

Status-of-class spring chart (workshop): 7 stages — PLAN | RESEARCH | DRAFT | DEVICE-PASS | PASS-1 CONTENT | PASS-2 SENTENCE | PASS-3 MECHANICS | PUBLISH. Each child has a magnetic name-tile moved into the column. Each column has 1-sentence definition and icon (PLAN = planner; RESEARCH = magnifying glass; DRAFT = pencil; DEVICE-PASS = rhetorical-device wheel; PASS-1 = purple checklist; PASS-2 = blue checklist; PASS-3 = green checklist; PUBLISH = laptop + audience). Print-ready 18x24. Note: DEVICE-PASS is a self-revision step before peer revision.

Cross-cultural mentor-speech corpus map: a world map with 15 pins marking each mentor speaker's origin and a small portrait + speech title at each pin. Lincoln (Illinois USA, Gettysburg Address). King (Georgia/Alabama USA, I Have a Dream). Sotomayor (Bronx NYC, Princeton commencement). Adichie (Enugu Nigeria, Danger of a Single Story TED). Murakami (Tokyo Japan, Jerusalem Prize speech). Chavez (Yuma Arizona, Wrath of Grapes). Maathai (Nyeri Kenya, Nobel lecture). Nakate (Kampala Uganda, UN climate speech). Douglass (Maryland USA, Fourth of July). Yousafzai (Mingora Pakistan, Nobel lecture). Morrison (Lorain Ohio USA, Nobel lecture). Senesh (Budapest Hungary, Blessed Is the Match). Frank (Frankfurt/Amsterdam, Diary). Harjo (Tulsa Oklahoma USA, Poet Laureate). Park (Illinois USA, Newbery acceptance). Bottom rule: 'Rhetorical devices are tools used across cultures, eras, and causes.' Print-ready 11x17.

Cumulative pronoun/punctuation review anchor: 1-page review of G6-fall mechanics. PRONOUN CASE (3 cases — subjective/objective/possessive — refer to fall MG-7). INTENSIVE vs. REFLEXIVE (refer to fall MG-8). PRONOUN CONSISTENCY (number/person — refer to fall MG-9). VAGUE PRONOUNS (this/that/which/it antecedents — refer to fall MG-10). NONRESTRICTIVE ELEMENTS (commas/parentheses/dashes — refer to fall MG-11). SEMICOLON 3 rules (new this term — refer to MG-10). COLON 4 rules (new this term — refer to MG-11). Print-ready 8.5x11 single-sided spring review.

Reference-material literacy review anchor (L.6.4.c-d with etymology emphasis): 4-card grid — PRINT DICTIONARY, DIGITAL DICTIONARY, THESAURUS (with denotation/connotation warning), ETYMOLOGY DICTIONARY (etymonline.com — emphasized this term). Bottom rule: 'Etymology look-up is now a DEFAULT routine. Latin/Greek root + affix decoding is a permanent G6 habit.' Worked example: 'rhetoric' — Greek 'rhētōr' (orator/speaker) + '-ic' (related to) — 'related to the speaker's art.' Print-ready 11x17.

Audience-register matrix for rhetorical performance (SL.6.6): 2x3 grid. ROWS: peer / cross-grade / adult-community. COLS: formal / informal. Each cell with examples of register choices — vocabulary (Tier-1 vs. Tier-2 vs. Tier-3), idiom appropriateness, pace, eye-contact protocol, hand-gesture norms. Worked example: PEER + FORMAL (school assembly with peers) = Tier-2 vocabulary preferred, idioms cautiously, eye-contact rotating, hand-gestures sparingly. ADULT-COMMUNITY + FORMAL (community council) = Tier-2 plus domain-specific Tier-3 where appropriate, idioms only if culturally shared, eye-contact direct, hand-gestures purposeful. Bottom rule: 'Register is audience-attuned voice. Your devices are tools; register is the dial.' Print-ready 11x17.

Workshop calendar (18-week spring): visual timeline with weeks 1-18. Weeks 1-3: rhetorical-device introduction (ethos/pathos/logos applied + parallelism + anaphora). Weeks 4-5: asyndeton + rhetorical question + active/passive. Weeks 5-9: LITERARY-ANALYSIS ESSAY arc — mentor-text close-reading + SOAP intro + device-analysis bodies + so-what conclusion + 3-pass peer revision. Week 9: midterm. Weeks 10-12: antithesis + sentence rhythm + tricolon + idiom analysis + denotation/connotation + analogy completion. Weeks 13-17: ORIGINAL ARGUMENT with rhetorical devices applied + 3-pass peer revision + presentation prep. Week 18: Rhetorician's Forum. Print-ready 18x24.

Rhetorical-device decision tree: a flowchart helping students choose WHICH device to apply for WHICH effect. Start: 'What is the purpose of this passage?' Branch 1 'List of similar ideas → use PARALLELISM.' Branch 2 'Emphasis through repetition → use ANAPHORA.' Branch 3 'Speed/urgency in a list → use ASYNDETON.' Branch 4 'Engage audience to feel they answered → use RHETORICAL QUESTION.' Branch 5 'Highlight a sharp contrast → use ANTITHESIS.' Each terminal node references the relevant MG anchor (MG-3 to MG-7). Print-ready 11x17.

Tricolon worked-examples wall: 12 historical and contemporary tricolons illustrated. 'Veni, vidi, vici.' (Caesar). 'Government of the people, by the people, for the people.' (Lincoln). 'Friends, Romans, countrymen.' (Shakespeare Julius Caesar). 'Stop, look, listen.' (railroad safety). 'Life, liberty, and the pursuit of happiness.' (US Declaration — note this uses 'and' = polysyndeton; without 'and' = asyndeton). 'Faith, hope, love.' (1 Corinthians 13). 'Liberté, égalité, fraternité.' (French Revolution). 'The good, the bad, and the ugly.' (film title). 'Mind, body, spirit.' (wellness). 'Education, education, education.' (Tony Blair anaphora-tricolon). 'Read, write, lead.' (school motto). 'I came, I saw, I conquered.' (Caesar). Bottom: 'Three is the magic number for memorable rhetoric.' Print-ready 11x17.

Device-spot game (digital + print): students see 15 mentor-text passages and identify the rhetorical device used. Multiple-choice answers per passage with feedback explaining the effect. Print version: 15 sentence cards in deck; sort into 5 device piles (parallelism, anaphora, asyndeton, rhetorical question, antithesis). Self-check key on reverse. Print-ready 8.5x11 card deck.

Voice-and-tone-for-effect anchor (L.6.3.b deepened): 2-column card. VOICE = the writer's distinctive sound, built from word choice, sentence rhythm, and rhetorical-device preference. TONE = the writer's attitude toward subject and audience (formal/informal, serious/playful, urgent/calm, intimate/distant). Worked example: Murakami's voice = quiet, compressed, asyndeton-heavy. King's voice = soaring, anaphora-rich, biblical cadence. Adichie's voice = conversational, question-driven, intellectually generous. Bottom rule: 'Voice is who you are; tone is how you sound right now. Both must be consistent within a piece, but voice persists across pieces while tone shifts with audience and occasion.' Print-ready 11x17.

Self-reflection rubric (assessment-as-learning): 3-2-1 reflection template extended for G6-spring. Three STRENGTHS in your literary-analysis essay + original argument (with quoted lines showing rhetorical-device application). Two REVISION TARGETS for next time (with specific moves named — e.g., 'try antithesis in my conclusion next time'). One GOAL for G7-fall (the next writing unit — research process and MLA). Print-ready 8.5x11.

Q&A preparation anchor for Rhetorician's Forum: 3 likely audience questions per device. 'You used anaphora in paragraph 3 — what effect were you going for?' 'Why did you choose a rhetorical question to open the paragraph?' 'How does your antithesis serve your argument's claim?' Sample prepared answers for each, modeled with concede-pivot-refute moves for hostile questions. Print-ready 8.5x11.

Final reflection conference protocol (week 18): 1:1 conference between teacher and student. 6 questions — (1) Name the rhetorical device you grew most comfortable using this term. Why? (2) Name the device you still find difficult. What's hard? (3) Walk me through your 3-pass revision process — which pass did you find most useful? (4) Compare your fall argument to your spring argument. What grew? (5) What's a rhetorical question you'd ask of yourself as a writer right now? (6) What's one thing about your writing identity that you want to carry into G7? Bottom rule: 'Conference is documentation — keep notes in student portfolio.' Print-ready 8.5x11.