Candace V Johnson

.

Instructional Design

By

Candace Johnson

Instructional Design Presentation


EDLD 5318 Assignment 1 

Name (Last, First): Candace Johnson

Link to your LMS: C Johnson English Language Arts Grade 8

Link to your ePortfolio: https://candacevjohnson.com/2025/06/08/hello-world/

Introduction:

This 9-week unit, centered around The House on Mango Street by Sandra Cisneros and The Pigman by Paul Zindel, is intentionally designed using the Backward Design model  to promote deep, meaningful learning aligned with the Texas Essential Knowledge and Skills (TEKS). According to the Western University Centre for Teaching and Learning (n.d.), backward course design begins with clearly defined learning outcomes, which then guide the selection of assessments and instructional activities.

Online and blended learning require intentional instructional design to ensure that students engage with content in purposeful, relevant ways. This unit was developed with that in mind, aligning learning outcomes, instructional activities, and assessments to create a cohesive and student-centered learning environment, both in person and on digital platforms like Google Classroom.

The instructional framework is grounded in Outcome-Based Education (OBE), emphasizing clear goals and aligned assessments. It also includes Competency-Based Education (CBE) features such as student choice, self-reflection, and opportunities to revise and demonstrate mastery at various levels.

Students will explore identity, consequences, and personal voice through rich literary texts and meaningful discussions. They will analyze key literary elements—character development, theme, and tone—while also examining the author’s craft, such as figurative language and perspective.

This unit supports critical thinking, creativity, and ownership by incorporating:

  • Personalized reading and writing tasks
  • Interactive tools for formative assessment and feedback
  • Culturally responsive practices (e.g., identity maps, personal vignettes)
  • A variety of assessments—essays, projects, journals, and discussions—that reflect diverse strengths

The final project offers multiple pathways for students to showcase learning through creative expression, reinforcing both academic rigor and real-world relevance. By centering the learner and using thoughtful online integration, this unit fosters not only reading and writing proficiency, but also empathy, voice, and agency.

Learning Goals:

  • Analyze character development, theme, setting, and tone (TEKS 8.6, 8.7).
  • Make inferences and support with textual evidence (TEKS 8.6(B), 8.6(C)).
  • Examine author’s craft, including figurative language, symbolism, and perspective (TEKS 8.9).
  • Engage in personal, analytical, and creative writing (TEKS 8.10, 8.11).

Desired Results

Students Will Be Able To:

  • Cite textual evidence to support claims
  • Analyze author’s purpose and literary techniques
  • Write original vignettes, essays, and creative responses
  • Engage in discussions and peer feedback
  • Reflect on identity through written and spoken expression

Audience: Diverse student population, including English Language Learners (ELLs)

Outline:

  1. 9-Week Reading Unit: “Finding Voice and Facing Consequences”
  1. Grade: 8th Grade
  2. Duration: 9 Weeks
  3. Genres: Fiction and Literary Nonfiction
  4. Theme:  Identity, Relationships, and Personal Growth

II. Unit Objectives (Aligned to TEKS)
A. Students will:

  1. Analyze character development, theme, setting, and tone (TEKS 8.6, 8.7).
  2. Make inferences and support with textual evidence (TEKS 8.6(B), 8.6(C)).
  3. Examine author’s craft, including figurative language, symbolism, and perspective (TEKS 8.9).
  4. Engage in personal, analytical, and creative writing (TEKS 8.10, 8.11).
  5. Collaborate in peer discussions, presentations, and writing workshops.

B. Core Texts

  1. The House on Mango Street by Sandra Cisneros
  2. The Pigman by Paul Zindel
  3. Supplemental Texts:
  1.  “Eleven” by Sandra Cisneros
  2. “Marigolds” by Eugenia Collier
  3. Selected poems and nonfiction on identity (e.g., Maya Angelou, Langston Hughes)

III.  Unit Pacing Guide (9 Weeks)

  1.  Weeks 1–2: Introduction to Identity & Voice
  1. Launch the essential question: “How do people form their identities?”
  2. Begin “House on Mango Street” – read selected vignettes
  3. Analyze tone, imagery, diction (TEKS 8.6(A), 8.9(D))
  4. Anchor writing task: Personal vignette in Cisneros’ style
  5. Vocabulary development from texts
  6. Activities: Literary devices scavenger hunt, name poem

 B. Weeks 3–4: Themes of Community and Belonging

  1.  Continue “House on Mango Street”
  2. Focus on Esperanza’s evolving identity and conflicts (TEKS 8.7(B), 8.7(D))
  3. Text connections: “Eleven” and “Marigolds” for voice and symbolism
  4.  Begin character study charts and theme tracking
  5. Mid-unit assessment: Short essay analyzing theme with textual evidence

C.  Week 5: Transition – Voice to Consequences

  1. Culminate “Mango Street” discussions with group projects: Visual interpretation or thematic gallery walk
  2. Introduce “The Pigman” – focus on dual narration and first impressions
  3. Anchor question: “What shapes the choices we make?”
  4. Journal reflection: Compare Esperanza’s and Lorraine’s outlooks on life

D.  Weeks 6–7: Relationships and Moral Dilemmas

  1. Deepen reading of “The Pigman” (Chapters 1–10)
  2. Analyze conflict (internal and external), irony, and figurative language (TEKS 8.7(C), 8.9(C))
  3. Writing: Character comparison essay (Esperanza vs. John or Lorraine)
  4. Group activity: Perspective rewrite (retell a chapter from another character’s point of view)

 E. Week 8: Climax, Consequences, and Reflection

  1. Finish “The Pigman”
  2. Conduct Socratic Seminar: “What defines growing up—choices or consequences?”
  3. Create a thematic one-pager for both novels
  4. Writing workshop: Literary analysis drafts with peer editing

D.  Week 9: Culminating Assessments

  1. Final project options (student choice):
    1. Comparative Literary Essay
    2. Creative Project: Podcast or short story inspired by the texts
    3. Visual Analysis: Identity collage, character timelines
    4. Final STAAR-style comprehension assessment (TEKS 8.6–8.11)
    5. Celebrate with Gallery Walk or class presentations

IV.  Differentiation and Supports

  1. Audiobook versions and read-alouds
  2. Anchor charts, guided notes, and sentence stems
  3. Vocabulary organizers and context clue activities
  4. Peer conferencing, writing scaffolds, and flexible grouping
  5.  Extension: Independent reading choice project

V.  Key TEKS Integrated

  • 8.6: Comprehension skills
  • 8.7: Literary elements and genres
  • 8.9: Author’s craft and purpose
  • 8.10: Inquiry and collaboration
  • 8.11: Writing responses and compositions

Design Approach

  1. Are you using Competency-Based Education (CBE) or Outcome-Based Education (OBE)? Explain your choice.

For this unit, I am primarily using Outcome-Based Education (OBE), while also integrating elements of Competency-Based Education (CBE).

Outcome-Based Education is the driving framework because the unit is designed around clearly defined learning outcomes aligned to the 8th Grade English Language Arts TEKS. Every lesson, activity, and assessment is intentionally planned to ensure that students meet these specific academic goals. OBE allows for consistent alignment between what students are expected to learn and how their understanding is measured, which is essential in standards-based instruction.

At the same time, I’ve incorporated CBE principles to personalize learning. Students are given multiple opportunities to demonstrate mastery through flexible assessments, including creative projects and writing tasks. They are encouraged to reflect on their learning, revise their work based on feedback, and move at a pace that supports individual growth.

In short, the unit structure follows OBE to ensure clarity and alignment, while the delivery borrows from CBE to support equity, student agency, and deeper learning.

  1. What instructional design model or approach are you using? Why?

The instructional design model I am using is Backward Design, developed by Grant Wiggins and Jay McTighe.

I chose this model because it ensures purposeful, aligned, and student-centered instruction. Rather than starting with activities or textbook chapters, Backward Design begins by identifying the desired learning outcomes—in this case, aligned with the 8th grade TEKS. From there, I plan the assessments that will provide evidence of student learning, and finally, design the instructional activities that will guide students to achieve those outcomes.

This approach helps maintain clarity, coherence, and focus throughout the unit. It prevents instructional drift by keeping every lesson and assignment tied directly to what students need to understand and be able to do. Additionally, it supports differentiated instruction and assessment, making it ideal for online and blended learning environments where flexibility and intentionality are critical (Western University, n.d.).

Further support for this model is echoed by DePaul University’s Teaching Commons, which highlights Backward Design as a high-impact framework for aligning teaching methods, assessment practices, and learning goals. Their guidance reinforces the importance of starting with outcomes to create a coherent and learner-centered course structure (DePaul University, n.d.).

  1. How will you balance assessment of, for, and as learning?

To balance assessment of, for, and as learning, I’ve designed this unit to integrate all three types intentionally across the 9 weeks, ensuring that assessment is not only a tool for measuring learning but also for guiding and deepening it.

Assessment of Learning Assessment for Learning Assessment as Learning 
These are summative assessments that evaluate what students have learned at the end of an instructional sequence. In this unit, examples include:A final literary analysis essayA creative project with a rubric tied to TEKSPeriodic reading comprehension quizzesThese are formative assessments used throughout instruction to monitor progress and inform teaching. They include:Exit tickets and check-for-understanding promptsReading journals and quick writesSocratic seminars where students discuss key themes and receive feedbackThis type emphasizes student metacognition—students reflect on and take responsibility for their own learning. In this unit, this is supported through:Self-assessments and goal-setting reflectionsPeer feedback on writing and presentationsChoice boards that let students select how they demonstrate understanding
These tasks assess mastery of standards and contribute to final grades.These help guide instructional adjustments and student support in real time.By combining these three forms, assessment becomes a cycle of learning, not just a checkpoint. It ensures that instruction is responsive, students are active participants in their growth, and learning outcomes remain central (Harpnuik, n.d.).
  1. How will you promote deeper learning?

To promote deeper learning in this unit, I intentionally incorporate strategies that move students beyond surface-level understanding and toward critical thinking, personal reflection, and real-world application.

Here’s how:

Authentic Texts and Themes:By engaging with The House on Mango Street and The Pigman, students explore complex issues like identity, choices, relationships, and cultural context. These texts are rich in the author’s craft and personal voice, encouraging students to make connections between literature and their lived experiences.
Inquiry-Based Discussions:Structured academic conversations such as Socratic seminars, literature circles, and open-ended questioning foster critical dialogue. These formats challenge students to defend their thinking with evidence and to respectfully consider multiple perspectives.
Creative and Reflective Writing:Students engage in personal narrative writing, vignettes, and analytical responses. These tasks allow for creative expression and deeper engagement with the text’s themes, structure, and style.
Choice and Voice:Choice boards, flexible assessment formats, and independent reading selections give students agency. When students feel ownership over how they demonstrate their learning, they are more invested and more likely to engage meaningfully.
Metacognition and Feedback Loops:Students reflect regularly through journals, self-assessments, and peer feedback, helping them understand their own learning process. These metacognitive practices strengthen long-term retention and skill transfer.


Through these strategies, deeper learning becomes the norm—not the exception—supporting academic growth, cultural awareness, and social-emotional development.

  1. Who controls the learning process-teacher, student, or both?

In this unit, both the teacher and the student share control of the learning process, reflecting best practices in student-centered and constructivist instruction.

Teacher RoleStudent Role
The teacher provides structure, guidance, and expertise This includes: Designing meaningful learning experiencesClarifying objectives and expectationsModeling thinking processes and skillsGiving timely, actionable feedbackStudents are empowered to take ownership and agency in their learning by:Making choices about how to demonstrate understandingReflecting on their progress through journals and self-assessmentsSetting personal learning goals and monitoring growth

This balanced approach creates a collaborative classroom environment where students are actively involved in constructing meaning, and the teacher is a facilitator rather than just a deliverer of information. It promotes deeper engagement, motivation, and the development of lifelong learning skills.

Materials to Enter into LMS

1. Unit Overview Document
A PDF or Google Doc outlining the unit goals, weekly themes, essential questions, and alignment to TEKS. This serves as a roadmap for both students and parents.

2. Daily Lesson Plans (9 Weeks)
Each lesson includes:

  • Learning objective
  • Instructional activities
  • Links to texts or resources
  • Discussion prompts
  • Assignment instructions
  • Formative/summative assessment tasks

3. Anchor Texts (Digital Access or Excerpts)
Upload links to online versions or selected PDF excerpts from:

  • The House on Mango Street by Sandra Cisneros
  • The Pigman by Paul Zindel
    [Provide instructions for book access. (Learning Ally)]

4. Assignments and Rubrics
Individual tasks such as:

  • Character analysis essay
  • Vignette writing task
  • Creative group project
  • Reading journal entries
  • Discussion board responses
    Each includes clear rubrics aligned to TEKS.

5. Student Choice Board
A Google Slide or Doc giving students creative project options that show understanding of unit themes. Includes differentiation and multiple modalities.

6. Quizzes and Comprehension Checks
Auto-graded forms or LMS quizzes covering key chapters, vocabulary, and themes.

7. Interactive Activities
Digital tools like:

  • Padlet for reflection
  • Flipgrid for student voice
  • Jamboard for collaborative annotation
  • Google Forms for exit tickets

8. Feedback & Reflection Tools

  • Self-assessment checklists
  • Peer review templates
  • Weekly reflection forms

9. Visual Aids and Slides
Lesson visuals, modeling strategies, author background, and Backward Design explanation slides used in class and uploaded for review.10. Teacher Notes and Support Materials
Optional PDFs for scaffolds, sentence stems, and exemplar responses for ELLs and SPED supports.

Implementation Schedule

 Implementation Schedule: Unit – “Identity, Choices, and Voice”

Week 1: Unit Launch & Identity Exploration

  •  Introduce unit theme, essential questions, and anchor texts.
  • Establish classroom norms for discussion and reflection.
  • Read selected vignettes from “The House on Mango Street”.
  • Activities: Personal identity collage or Flipgrid intro; journal reflections.
  • Assessment: Journal check, identity pre-writing.

Week 2: Setting, Voice & Figurative Language

  • Deep dive into Cisneros’s use of figurative language and tone.
  • Focus on setting as character and cultural context.
  • Activities: Literary device scavenger hunt; Jamboard quote analysis.
  • Assessment: Figurative language mini-assessment.

Week 3: Character and Theme Development

  • Analyze Esperanza’s character arc and how it connects to the theme.
  • Students begin writing their own vignette.
  • Activities: Group discussions; teacher modeling of vignette writing.
  • Assessment: Draft of student-created vignette; peer feedback.

Week 4: Author’s Craft & Perspective

  • Close reading: Symbolism, repetition, and narrative voice.
  • Compare Esperanza’s story to personal student experiences.
  • Activities: Collaborative story mapping, author’s craft gallery walk.
  • Assessment: Annotated excerpts, short constructed response.

Week 5: “The Pigman” Introduction & Character Comparison

  • Introduce “The Pigman” and discuss point of view.
  • Begin character comparison between John/Lorraine and Esperanza.
  • Activities: Paired reading; double-entry journal.
  • Assessment: Character analysis paragraph.

Week 6: Conflict, Choices & Consequences

  • Explore internal and external conflict in “The Pigman”.
  • Discussion around choices and adolescent development.
  • Activities: Socratic seminar, digital role-play scenarios.
  • Assessment: Mid-unit quiz on theme, character, and conflict.

Week 7: Connecting Themes Across Texts

  • Synthesize how both texts explore identity, relationships, and voice.
  • Activities: Theme synthesis graphic organizer; discussion board.
  • Assessment: Planning outline for literary analysis essay.

Week 8: Writing Workshop & Project Work

  • Draft and revise literary analysis essays or creative projects.
  • Provide scaffolded supports and peer conferencing.
  • Activities: Writing station rotations (in person or digitally); conferencing.
  • Assessment: Rough draft submission, self-reflection form.

Week 9: Publishing, Presenting, and Reflecting

  • Final presentations of projects or essay readings.
  • Reflect on personal growth and author voice.
  • Activities: Choice board presentations; celebration of learning.
  • Assessment: Final literary analysis or creative project; unit reflection.

Reference

References 

Bates, A.W. (2019). Teaching in a Digital Age: Guidelines for designing teaching and learning. https://opentextbc.ca/teachinginadigitalage/ 

Canva. (2025). Custom images and graphics created using Canva design platform [Images]. Canva. https://www.canva.com

DePaul University. (n.d.). Teaching and learning frameworks: Backward design. Teaching Commons. https://resources.depaul.edu/teaching-commons/teaching-guides/course-design/Pages/teaching-learning-frameworks.aspx

Harapnuik, D. (2021). Assessment as learning: A process of developing and supporting thinking. Retrieved from https://www.harapnuik.org/?page_id=8900

Harapnuik. D. (2020). Why I don’t use checklists, progress bars & other activity monitors. https://www.harapnuik.org/?p=8314 

Western University Centre for Teaching and Learning. (n.d.). Backward course design. https://teaching.uwo.ca/curriculum/coursedesign/backward-design.html

Quality Matters. (n.d.). K–12 secondary rubric standards. Quality Matters. Retrieved June 20, 2025, from https://www.qualitymatters.org/qa-resources/rubric-standards/k-12-secondary-rubric

Leave a comment