Writing prompt Grade 10 English Language Arts

The Summer Kinnick Flats Hauled Its Water: A Narrative Prompt

A grade 10 narrative writing prompt set in a town whose well went dry, with a planning organizer, a complete student-level exemplar, and a four-level rubric.

Objectives

  1. Students will write a narrative with a controlled point of view and a clear sequence of events.
  2. Students will use dialogue and sensory detail to reveal character rather than to report information.
  3. Students will build a turn that changes what the narrator understands by the end.

Vocabulary

Aquifer
An aquifer is an underground layer of rock, sand, or gravel that holds water in the tiny spaces between its grains. Wells reach down into aquifers to bring water up to the surface.
Recharge
Recharge is water soaking down through the ground to refill an aquifer, the way rain refills an underground sponge. Aquifers stay healthy only if recharge keeps up with pumping.

Also: haul, pump intake, point of view, turn

Teacher overview

Narrative writing improves when the situation itself puts pressure on the characters, and a town that has lost its water supply creates that pressure directly. This prompt places students in a fictional community that spent nine weeks hauling drinking water after its well failed, and asks for a narrative told by one person living through it. The exemplar shows the level of specific detail that separates a story from a summary, which is the distinction most tenth graders are working on in narrative units.

Exemplar & Rubric

Exemplar response

The first thing I noticed was the sound the tap made. Not water. A dry cough, then nothing, then my mother saying my name from the kitchen in a voice I had not heard before.

That was the last Tuesday in June. By Friday there was a white tank the size of a delivery truck sitting in the school lot, and a folding table beside it with a clipboard and a coffee can full of pens. Mrs. Ospina from the council checked names off the list. Everyone got the same amount per person. We carried it in two blue camping jugs and a stockpot with a lid that never fit.

Our jugs weighed forty pounds full. My brother and I worked out a system where we walked eleven steps, set them down, shook out our hands, and picked them up again. Eleven steps was as far as I could go before my fingers stopped closing. By the third week I could make twenty. I was proud of that in a way I did not tell anyone about.

The line at the tank was where the town happened that summer. People stood in it at seven in the morning with their hair wet from the gym showers, and the smell of chlorine came off everyone at once. Mr. Deraney, who had run the cafe for nineteen years, stood in line like everybody else, three weeks after he put the sign in his window. He never said the word closed. He said, "I'm resting the grill." Nobody corrected him. That is how I learned that people will hand you a version of a thing, and you can take it.

The middle weeks were the worst, because the emergency stopped being an emergency and turned into a chore. In July the tanker was late two days in a row. On the second day a man I did not know started shouting at Mrs. Ospina about it, and she let him finish, and then she said the driver had a flat outside Ledge Hill and would be here at four. He apologized. She wrote his name on the list.

The night the Cardoza family left, they knocked on our door to give us their freezer food. Diego was in my grade. His mother stood on the step with a grocery bag of frozen peas and would not come in. She said they were going to her sister's until the well was fixed, and everybody understood by then that the second half of that sentence was the part you did not lean on. Diego did not come back in September. He does not answer messages much.

I thought all summer that what I was learning was how much water a person uses. That number is easy, and I could recite it by August. Standing in that line every morning, I found out something slower. Our town was never one thing. It was a set of arrangements people had agreed to and then forgotten they had agreed to, and the water was one of them, and when that arrangement failed you could see all the others underneath it, still holding, mostly.

In September the rig came. It ran for six days and the noise carried up the bench, and on the seventh day the tap in our kitchen made a sound like an argument and then ran brown for two minutes and then ran clear. My mother filled a glass and did not drink it. She set it on the sill where the light came through it, and we both looked at it for a while, and then she poured it out and filled the glass again.

I still walk eleven steps and want to set something down.

Rubric

Criterion Emerging Developing Proficient Advanced
Narrative technique Reports events with no scene work or dialogue. Includes one brief scene or line of dialogue that mostly delivers information. Develops two scenes closely and uses dialogue that reveals character. Uses technique to control pace, so the reader feels the middle weeks slow down as the narrator does.
Sequence and pacing Order is unclear or events are listed without connection. Sequence is followable, though some weeks are skipped without signal. Events move clearly across the nine weeks with signaled shifts in time. Sequence is shaped for effect, with returns to an image or habit that mark how much time has passed.
Detail and word choice Details are generic and could belong to any story. Some specific details appear, mixed with filler description. Sensory detail is specific to this situation, including weight, sound, smell, or temperature. Detail carries meaning beyond itself, so an object or gesture stands for the narrator's change.
Turn and closing No change in the narrator, or a moral stated at the end. A change is announced rather than shown. The narrator ends with a different understanding, shown through action or reflection. The turn is earned by the sequence and leaves the situation unresolved without leaving the reader confused.
Conventions Errors interfere with meaning throughout. Errors are frequent but meaning survives. Errors are minor and do not distract. Control of syntax and punctuation is part of the voice.

Differentiation

Support

Give these students a narrator, a point of view, and the first beat already chosen, so that planning begins at the complication. Reduce the length to 400 to 600 words and require one close scene rather than two. Provide a sensory checklist with four boxes labeled sound, smell, weight, and temperature to check off during revision.

Extension

Ask these students to write a second, shorter version of the same nine weeks from a narrator whose interests conflict with the first narrator's, then write a paragraph on what the second version makes visible that the first one hid.

ELL supports

Pre-teach haul, jug, ration, rig, and bench with photographs or sketches, and build a shared word bank of sensory verbs before drafting. Allow students to tell the sequence aloud to a partner and record it before writing, and provide the dialogue line as a frame: "Mr. ___ never said ___. He said, ___."

Extensions

Have students interview an adult who has lived through an interruption of a basic service, such as a long power outage, a boil-water advisory, or an evacuation, and write a one-page account in that person's voice. Compare the interviewed accounts with the fictional narratives and discuss which details only a participant would have supplied.