All questions
Question 1
Read the passage, then answer the question.
The hallway outside the band room smelled like lemon cleaner and old brass. Maya held her trumpet case so tightly her fingers ached. From inside, a slow beat tapped—thump… thump… thump—like someone practicing a heartbeat.
“Are you going in?” Jordan asked, leaning on the lockers. His backpack zipper jingled when he shifted.
Maya swallowed. “In a minute.” She tried to sound calm, but her voice came out thin.
The band room door creaked open, and Mr. Ortiz’s head appeared. His gray eyebrows lifted. “Maya. You’re early.”
“I wanted to… um… talk.” Maya stepped inside. The room was cool and dim, with music stands like skinny black trees. A single light hummed above the podium.
Jordan followed, whispering, “You’ve got this.”
Maya stared at the empty chairs. Her stomach fluttered. If I mess up today, everyone will know.
Mr. Ortiz set a metronome on the stand. It clicked sharply, then softened. “Tell me what you’re worried about.”
Maya hesitated. She could hear her own breathing between the clicks. “My solo,” she said. “I keep rushing.”
Mr. Ortiz nodded slowly. “Then we’ll practice the pauses.” He waited a moment before adding, “Silence is part of music too.”
How would listening to an audio version of this passage differ from reading it silently?
- The audio version would change the events so Maya does not have a solo, while the written version keeps the original plot.
- The audio version would use a narrator’s pacing and vocal tone (like a real whisper for “You’ve got this” and pauses between metronome clicks), while a reader must imagine those sounds and decide the pace. (correct answer)
- The audio version would let the listener see the band room’s lighting and where everyone is standing, while reading cannot describe those details.
- The audio version would include the exact same inner thoughts, but reading would not allow any thoughts to be shared.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes whispered dialogue ('You've got this'), sound descriptions (metronome clicks, door creaks), and internal thoughts that would be experienced differently in an audio version compared to reading. Choice B is correct because it accurately identifies a genuine difference between reading and audio: in reading, descriptions like 'whispered' and italicized sounds (thump... thump... thump) require readers to imagine the exact sounds and control their own pacing, while audio provides actual vocal performance with specific whisper tone and real metronome sounds with narrator-controlled timing. Choice C represents the common error of confusing medium capabilities - students mistakenly think audio includes visuals when it only provides sound. To help students master medium comparison: Use comparison charts with columns for Reading/Audio/Video-Live and rows for different elements (dialogue, setting, action, pacing, imagination required). Have students read passages containing sound descriptions, then listen to audio versions to identify how written sound effects (like the metronome's 'thump... thump... thump') become actual sounds with specific rhythm and volume in audio, while readers must imagine these sounds based on text descriptions.
Question 2
Read the drama excerpt.
[Setting: A school hallway after dismissal. Lockers slam in the distance.]
EMMA: (holding a torn poster) You said you’d help.
DARIUS: (shrugs; then stops himself) I tried.
EMMA: Tried how?
[Darius looks down at his hands. He rubs his thumb over a strip of tape stuck to his skin.]
DARIUS: (after a long pause) I forgot.
EMMA: (quietly) Wow.
DARIUS: Don’t say it like that.
EMMA: Like what?
[Emma’s voice is small, but her shoulders are stiff.]
Question: In an audio version, which part would most depend on the actors’ vocal choices rather than the reader’s imagination?
- The exact number of lockers in the hallway, because audio must state the number out loud.
- The tone of Emma’s “Wow,” because it could sound angry, hurt, or surprised depending on how it is spoken. (correct answer)
- The order of events, because audio performances must rearrange scenes to make them understandable.
- The spelling of the characters’ names, because listeners can hear letters more clearly than readers can see them.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This drama excerpt includes emotionally charged dialogue with ambiguous delivery: Emma's 'Wow' (which could express hurt, anger, disappointment, or surprise), Darius's 'I forgot' after a long pause (suggesting shame or indifference), and the contrast between Emma's 'small' voice and 'stiff' shoulders indicating complex emotions. Choice B is correct because it accurately identifies how actors' vocal choices determine meaning: Emma's single word 'Wow' could be performed with sharp anger (emphasizing betrayal), quiet hurt (showing disappointment), bitter sarcasm (masking pain), or genuine surprise—while readers imagine various possibilities based on context, audio commits to one specific emotional interpretation through the actor's tone, volume, and delivery speed. Choice C represents the common error of thinking audio changes plot structure—students mistakenly believe audio must rearrange events when it actually presents the same sequence with vocal interpretation; the order remains identical while performance adds emotional layers. To help students master medium comparison: Practice saying 'Wow' with different emotions (hurt, angry, surprised, sarcastic), recording each version to demonstrate how the same word carries different meanings through vocal performance. Create an 'Actor's Notes' chart where students mark ambiguous lines and list possible vocal interpretations, understanding that audio makes one choice while reading keeps possibilities open.
Question 3
Read the passage.
The gym smelled like rubber mats and orange slices. A banner hung crooked above the bleachers: FIELD DAY FINALS. Tessa bounced on her toes, trying to keep her legs from turning into noodles.
Coach Ramirez held a whistle between his lips. He didn’t blow it yet. He just looked down the line of runners, making the waiting stretch.
Tessa glanced at her friend Anwar. His face was blank, but his fingers kept opening and closing, opening and closing.
“You ready?” she asked.
Anwar said, “Sure.”
He didn’t look at her.
The whistle finally shrieked. The sound sliced through the gym, and Tessa sprang forward. Sneakers squealed. Someone in the bleachers shouted her name, and the shout chased her down the track.
Question: How would listening to an audio version of this passage differ from reading it?
- Listening would make the reader imagine more because audio cannot include the whistle sound or the crowd noise.
- Listening would let the audience hear the whistle’s shriek and the crowd’s shout, while reading only describes those sounds in words. (correct answer)
- Listening would change the outcome of the race because the narrator decides who wins.
- Listening would allow the audience to stop time in the middle of a sentence more easily than a reader can.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes multiple auditory elements perfect for audio enhancement: the whistle's shriek, sneakers squealing, crowd shouting, plus dialogue requiring tone interpretation (Anwar's 'Sure' while not looking at Tessa). Choice B is correct because it accurately identifies how audio brings sound descriptions to life: readers see words like 'whistle finally shrieked' and must imagine the sharp, piercing sound, while audio listeners would hear an actual whistle sound effect or vocal imitation; similarly, 'someone shouted her name' becomes a real voice calling 'Tessa!' rather than a written description—audio transforms written sound descriptions into actual auditory experiences. Choice A represents the common error of reversing medium capabilities—students incorrectly think audio removes sounds and requires more imagination, when actually audio provides concrete sounds that reading only describes in words. To help students master medium comparison: Create a two-column chart listing 'Sound Words in Text' (shrieked, squealed, shouted) and 'What I'd Hear in Audio' (actual whistle, shoe sounds, voices), demonstrating how audio converts written descriptions into real sounds. Have students close their eyes while someone reads the passage with sound effects to experience the difference between imagining and hearing.
Question 4
Read the passage, then answer the question.
Kai sat on the front steps with a paper bag of groceries between his feet. The evening air smelled like wet asphalt and someone’s barbecue. A delivery truck groaned as it turned the corner.
His mom’s text still glowed on his phone: Be home by six. Don’t argue.
He heard keys jingle inside the door. It opened, and his older sister, Lila, stepped out, tying her hair into a knot.
“You’re late,” she said.
Kai lifted the bag. “I had to wait in line.”
Lila looked at him for a long second. “Sure.”
Kai’s throat tightened. “Why do you always say it like that?”
“Like what?” Lila asked, but her eyes slid away.
Kai wanted to shout, but he kept his voice low. If I shout, Mom will hear, and then everything gets worse.
Lila’s shoulders sagged. “Just… come inside,” she said, softer than before.
How would listening to an audio version change your understanding of Lila’s line “Sure.” compared to reading it?
- Listening would make the word “Sure” disappear, because audio cannot include short lines of dialogue.
- Listening would provide a specific vocal tone (skeptical, annoyed, or believing) for “Sure,” while reading requires you to imagine that tone from the context and actions. (correct answer)
- Listening would show whether Lila’s eyes slid away, while reading cannot describe eye movement.
- Listening would allow the listener to pause and reread any sentence instantly, while reading forces one continuous speed.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes ambiguous single-word dialogue ('Sure'), character dynamics requiring interpretation, and emotional subtext that would be conveyed differently in audio versus reading. Choice B is correct because it accurately identifies that audio performance would provide a specific vocal tone for 'Sure' (skeptical, annoyed, or believing) through the actor's delivery, while reading requires readers to infer Lila's tone from context clues like her looking away and Kai's defensive response. Choice D represents the common error of reversing medium capabilities - students mistakenly think audio allows instant pausing and rereading when that's actually a feature of reading, while audio moves at the narrator's continuous pace. To help students master medium comparison: Practice performing 'Sure' with different tones (skeptical, supportive, sarcastic) to show how vocal delivery changes meaning. Analyze single-word responses in context, comparing how readers use surrounding actions and dialogue to interpret tone while audio provides one specific vocal interpretation. Create charts showing control differences between mediums (reading: reader controls pace, can reread, imagines tone; audio: narrator controls pace, provides specific tone). Watch for students who confuse which medium allows pace control or who don't understand how vocal performance transforms ambiguous written dialogue.
Question 5
Read the passage, then answer the question.
At the community center, the talent show curtain was made of heavy red fabric that smelled faintly like dust and stage makeup. Behind it, Quinn bounced on their toes, trying to warm up their fingers.
“You’re up next,” said Ms. Chen, holding a clipboard.
Quinn nodded, then blurted, “If I mess up, just… pretend it’s jazz.”
Ms. Chen’s mouth twitched. “That might work.”
From the stage, someone finished a song. Applause rose like a wave and then faded.
Quinn peeked through a gap in the curtain. The lights were so bright that the audience looked like a dark ocean with a few shiny faces.
Ms. Chen leaned in. “Remember,” she said, gentle but firm, “you don’t have to be perfect to be heard.”
Quinn swallowed. Their stomach fluttered like paper in wind. “Right,” they said.
Ms. Chen lifted the curtain edge. “Go.”
Quinn stepped forward, and the stage boards gave a quiet tap under their shoes.
Question: How could sound effects and music in an audio version change the experience of this moment compared to reading it?
- Audio could add applause, footsteps, and possibly soft background music to heighten nerves, while the text only describes those sounds. (correct answer)
- Audio would make the red curtain visible, while reading cannot mention color or texture.
- Audio would remove Ms. Chen’s dialogue because dialogue does not work when spoken aloud.
- Audio would let the listener choose the exact lighting and stage layout, while reading forces one visual design.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes performance anxiety elements (stomach fluttering, bouncing on toes), sound descriptions (applause like a wave), and atmospheric details that audio could enhance through sound design. Choice A is correct because it accurately identifies how audio enhances atmosphere: actual applause sounds could rise and fade realistically, footsteps on stage boards could create rhythm and tension, and soft background music could underscore Quinn's nervousness, making the pre-performance moment feel more immediate and visceral than when readers imagine these elements from text descriptions - the combination of real sounds would heighten the emotional experience. Choice B represents the common error of confusing audio limitations - audio cannot make visual elements like the red curtain visible; it can only describe or ignore visual details since audio is purely auditory; students make this mistake by not recognizing that audio works through sound alone. To help students master medium comparison: Create a 'soundscape' for this scene listing all possible audio elements (applause, footsteps, background murmur, music) and discuss how these would affect mood differently than reading descriptions. Have students read the passage silently, then listen to it with added sound effects, comparing how anticipation and nervousness feel different when enhanced by actual sounds versus imagined from text, emphasizing that audio creates atmosphere through sound while reading creates it through imagination.
Question 6
Read the drama excerpt, then answer the question.
[Setting: A school auditorium backstage. A curtain hangs to the left. A single work light buzzes overhead.]
NIA: [holding a paper crown, whispering] I can’t go out there.
CALEB: [peeking through the curtain] The audience is just… people.
NIA: People who can laugh. Loudly.
CALEB: [tries to smile] You practiced. You know your lines.
NIA: [stares at the crown] What if my voice shakes?
CALEB: Then it shakes. [He pauses.] That doesn’t mean you’re wrong.
NIA: [takes a slow breath] Say that again.
CALEB: [more firmly] That doesn’t mean you’re wrong.
[A distant announcer’s voice echoes: “Two minutes!” The buzz of the light seems louder.]
NIA: [puts on the crown, hands trembling] Fine.
CALEB: “Fine” like brave fine? Or “fine” like disaster fine?
NIA: [a tiny laugh escapes] Both.
Question: If you listened to an audio version of this excerpt instead of reading it, what would most likely change?
- You would hear how Nia says “Fine,” including whether it sounds shaky or confident, while readers decide the tone themselves. (correct answer)
- You would learn new facts about Nia’s past that are not included in the script.
- You would be able to see the paper crown and the work light clearly, which audio provides better than text.
- The stage directions would disappear from the story’s meaning, because audio cannot communicate actions at all.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This drama excerpt includes stage directions, dialogue with emotional subtext (Nia's fear, Caleb's encouragement), and a crucial final line 'Fine' that requires tonal interpretation. Choice A is correct because it accurately identifies how audio performance adds specific vocal interpretation: when reading, we see 'Fine' and must infer from context (after putting on the crown with trembling hands) whether Nia sounds shaky, determined, or resigned, but in audio, the actor would perform this line with a specific tone that reveals Nia's emotional state - perhaps a shaky voice trying to sound brave or a forced confidence. Choice C represents the common error of misunderstanding audio capabilities - audio can effectively communicate actions through sound effects, narration, or dialogue delivery; stage directions don't disappear but are conveyed differently through performance choices. To help students master medium comparison: Use drama excerpts to practice how stage directions translate to audio - discuss how 'hands trembling' might be conveyed through voice quality or breathing patterns in audio. Have students perform the same line 'Fine' in different emotional tones to understand how audio interpretation shapes meaning, then compare to the ambiguity and reader interpretation required when reading silently.
Question 7
Read the poem, then answer the question.
In the attic, the storm drums rat-a-tat,
On rusted nails and window glass;
The rafters creak like an old wood cat
That stretches slow when shadows pass.
A candle makes a wobbling sun,
Its light a puddle, small and warm;
My brother grins, then whispers, “Run—”
As thunder stomps across the storm.
We hold our breath, then laugh too loud,
When silence drops like folded cloth;
Outside, the sky is one dark cloud,
Inside, our hearts are moths, are moths.
Question: What would a listener hear in an audio version of this poem that is only suggested on the page?
- The exact meaning of every metaphor, because audio explains figurative language automatically.
- The reader’s own chosen rhythm and stopping points, because an audio narrator cannot control pacing.
- A performed rhythm, emphasis, and possibly storm sound effects that make “rat-a-tat” and thunder feel more immediate. (correct answer)
- A different plot where the speakers leave the attic, since audio versions usually add events.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This poem includes onomatopoeia ('rat-a-tat'), rhythm patterns, atmospheric descriptions (storm, thunder), and emotional moments that would be experienced differently in audio versus reading. Choice C is correct because it accurately identifies how audio can enhance poetic elements: the 'rat-a-tat' rhythm would be performed with specific timing and emphasis, thunder could be represented with actual sound effects or vocal performance, and the narrator's voice would create a particular mood and pacing that makes these auditory elements feel more immediate than when readers imagine them from text. Choice D represents the common error of thinking audio versions change plot or content - different mediums present the same text, not different events; students make this mistake because they confuse adaptation (changing content) with medium transfer (changing presentation). To help students master medium comparison: Have students read the poem silently, then listen to different audio performances noting how rhythm, emphasis, and sound effects change the experience. Practice identifying what elements in poetry benefit from audio performance (rhythm, rhyme, onomatopoeia, mood) versus what readers control when reading (personal pacing, internal rhythm, imagined sounds), emphasizing that both mediums have unique advantages.
Question 8
Read the passage, then answer the question.
The campsite was quiet in a way that felt earned, like the woods were finally exhaling. Pine needles softened the ground, and smoke from the fire curled into the dark like a slow ribbon.
Grandpa Eli poked the coals. “Listen,” he said.
Jules leaned closer. “To what?”
Grandpa tilted his head. In the distance, an owl called once, then twice—deep and round. Somewhere near the creek, water chuckled over rocks.
Jules hugged her knees. “It’s creepy.”
Grandpa’s mouth twitched, almost a smile. “It’s unfamiliar. That’s different.”
Jules stared at the shadows beyond the firelight. They looked like tall people standing very still.
Grandpa added, “When you can’t see much, your ears do extra work.”
Jules tried to laugh, but it came out small. “Thanks for that.”
Grandpa paused before answering. “You’re welcome,” he said, and Jules couldn’t tell if he was teasing.
In an audio version, what would most help a listener decide whether Grandpa is teasing when he says, “You’re welcome”?
- The listener would rely on the actor’s tone, timing, and emphasis on “You’re welcome,” which are not fixed on the page. (correct answer)
- The listener would know he is teasing because audio always includes a narrator explaining the character’s true feelings.
- The listener would see Grandpa’s facial expression clearly, which is the main feature of audio recordings.
- The listener would need the plot to change so Grandpa states directly, “I am teasing.”
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes ambiguous dialogue ('You're welcome'), subtle character interactions, and tone interpretation that would be clarified differently in audio versus reading. Choice A is correct because it accurately identifies that audio performance would use the actor's specific tone (playful, serious, dry), timing of delivery, and emphasis on words to reveal whether Grandpa is teasing, while the written text leaves this interpretation open and unfixed for readers to decide based on context. Choice C represents the common error of confusing audio with video - students mistakenly think audio recordings show facial expressions when they only provide vocal performance. To help students master medium comparison: Have students practice saying 'You're welcome' in teasing versus serious tones to understand how vocal performance shapes meaning. Analyze ambiguous dialogue where tone determines meaning, comparing how readers use context clues and character knowledge while audio provides one specific interpretation through performance. Create exercises identifying what clues each medium provides for understanding tone (reading: context, punctuation, narrative description; audio: vocal tone, pace, emphasis). Watch for students who think audio includes visual elements or who don't recognize that ambiguous written dialogue gains specific meaning through vocal performance.
Question 9
Read the drama excerpt.
[Setting: A small kitchen at dusk. A clock ticks loudly. A pot on the stove gives off a warm, onion smell.]
RINA: (staring at the table) You moved it.
CALEB: (sets down a backpack; avoids eye contact) I didn’t “move it.” I put it somewhere safer.
RINA: Safer for who?
[The clock seems louder during the pause. Caleb’s fingers drum the counter: tap-tap-tap.]
CALEB: (quietly) For you.
RINA: (laughs once, sharp and short) Wow. Thanks.
CALEB: Don’t do that.
RINA: Do what? Say what I mean?
[Caleb finally looks up. His face is tight, like he is holding back words.]
Question: How would listening to an audio performance of this drama differ from reading it?
- An audio performance would include vocal tone and timing for Rina’s “Wow. Thanks,” while reading leaves the exact sarcasm or sincerity to the reader. (correct answer)
- An audio performance would remove the clock ticking and finger tapping because those details can only exist in written text.
- An audio performance would change the setting from a kitchen to a classroom to make it easier to understand.
- An audio performance would allow the listener to see Caleb’s facial expression more clearly than the text can describe.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This drama excerpt includes ambiguous dialogue requiring tonal interpretation (Rina's 'Wow. Thanks.'), stage directions describing sounds (clock ticking, finger tapping), and emotional subtext in delivery (Caleb speaking 'quietly,' Rina's 'sharp and short' laugh). Choice A is correct because it accurately identifies how audio performance commits to specific interpretations: Rina's 'Wow. Thanks.' could be delivered with biting sarcasm (emphasizing her hurt and anger), genuine gratitude (if she's actually touched by his concern), or bitter resignation (accepting but not appreciating)—while reading, each reader imagines their own interpretation based on context, but audio provides one definitive performance that shapes meaning. Choice D represents the common error of confusing audio with video—students think audio allows listeners to 'see' facial expressions when audio only provides vocal interpretation; visual elements like Caleb's 'tight' face require imagination in both reading and audio. To help students master medium comparison: Practice performing Rina's 'Wow. Thanks.' multiple ways (sarcastic, sincere, hurt, angry) to demonstrate how audio makes interpretive choices readers make individually. Create a performance notes chart where students mark ambiguous lines and list possible vocal interpretations, reinforcing that audio commits to one choice while reading leaves options open.
Question 10
Read the drama excerpt, then answer the question.
[Setting: A small kitchen at night. A single lamp makes a warm circle on the table. Outside, wind pushes against the window with a low moan.]
[LEO stands by the sink, drying a plate too hard. TESS sits at the table, turning a key on a string around her finger.]
TESS: (quietly) You didn’t have to follow me.
LEO: (without looking up) I didn’t. I just… ended up there.
[TESS stops spinning the key. The silence stretches.]
TESS: “Ended up.” Sure.
LEO: What does that mean?
TESS: It means you say things like they’re accidents.
[LEO sets the plate down. It makes a sharp clack. He takes a breath, then speaks more softly.]
LEO: I was worried.
TESS: (standing) And I was embarrassed.
[They face each other. Wind rattles the window once, then stops.]
How might the line “Ended up.” sound different in an audio performance than it does when you read it silently?
- In audio, an actor could say “Ended up.” with sarcasm or frustration, while silent reading leaves the exact tone up to the reader. (correct answer)
- In audio, the actor would need to change the words “Ended up.” because dialogue cannot be spoken exactly as written.
- In audio, the audience would see the kitchen lamp and the key, which is impossible when reading.
- In audio, the line would have no meaning because listeners cannot understand short sentences.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This drama excerpt includes short dialogue ('Ended up.') that requires vocal interpretation, stage directions describing tone and movement, and emotional subtext that would be conveyed differently in audio versus reading. Choice A is correct because it accurately identifies that audio performance allows an actor to deliver 'Ended up.' with specific vocal tone (sarcasm, frustration, defensiveness) that shapes meaning, while silent reading leaves the exact emotional tone to the reader's interpretation based on context clues. Choice C represents the common error of confusing audio with video - students mistakenly think audio performances include visual elements like seeing the kitchen lamp and key, when audio only provides sound. To help students master medium comparison: Have students practice reading the same line multiple ways (sarcastic, defensive, casual) to understand how vocal performance shapes meaning. Use drama excerpts with ambiguous dialogue to show how readers must infer tone from context while audio provides one specific interpretation. Create exercises where students identify which stage directions (visual vs. auditory) would translate to audio performance. Watch for students who confuse audio capabilities with video or who don't recognize that short, ambiguous dialogue gains specific meaning through vocal performance.
Question 11
Read the passage.
The hallway outside the school auditorium smelled like fresh paint and dusty curtains. Maya stood by the double doors, rolling a paper wristband between her fingers. From inside, a piano played a few scattered notes—plink, plink—like someone testing the keys.
“Are you sure this is the right room?” Leo asked. His voice sounded calm, but his sneaker tapped the floor in quick, nervous beats.
Maya listened. The music stopped. For a moment, the silence felt heavy, as if the air itself was waiting.
“I’m sure,” she said. Then she added, softer, “I think.”
Leo raised an eyebrow. “That’s not the same thing.”
Maya tried to smile, but her cheeks felt stiff. Behind the doors, someone laughed, and the laugh echoed like it had nowhere to land.
She pushed the door open. Warm light spilled out, bright enough to make her blink. Onstage, students moved set pieces—wooden trees and a cardboard moon. A stagehand dragged a chain across the floor, and it rattled like a snake’s tail.
Leo leaned close. “Fine,” he said.
Maya couldn’t tell if he meant it.
Question: How would listening to an audio version of this passage differ from reading it silently?
- The audio version would change the events by adding a new character who opens the door first.
- The audio version would let the listener hear how Leo says “Fine,” while a reader must infer his tone from the context. (correct answer)
- The audio version would require more imagination because it would remove the described sounds like “plink, plink.”
- The audio version would allow the listener to control the pacing more easily than reading does.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes dialogue requiring vocal interpretation (Leo's 'Fine'), sensory descriptions readers imagine vs audio presents (piano notes 'plink, plink'), and internal states requiring interpretation (Maya's stiff cheeks, Leo's calm voice but nervous tapping). Choice B is correct because it accurately identifies a genuine difference between reading and audio: when reading 'Leo leaned close. "Fine," he said. Maya couldn't tell if he meant it,' readers must infer Leo's tone from context clues (his earlier nervousness, the tense situation), but in audio, the voice actor would perform 'Fine' with a specific tone—perhaps resigned, sarcastic, or genuinely accepting—providing one interpretation of his emotional state. Choice C represents the common error of reversing medium capabilities—students think audio removes sounds when actually audio adds actual sounds to replace written descriptions like 'plink, plink.' To help students master medium comparison: Create a three-column chart (What I Imagine When Reading | What I Hear in Audio | What Changes) and have students track specific elements like Leo's 'Fine'—noting how reading leaves tone open to interpretation while audio commits to one performance. Practice reading dialogue aloud multiple ways to demonstrate how audio makes interpretive choices that readers make individually.
Question 12
Read the passage.
The rain started as a whisper, then grew into a steady drumming on the bus stop roof. Jordan hugged his backpack to his chest. Water slid down the metal pole in thin, shining lines.
A woman beside him shook out her umbrella. It snapped open with a sharp pop.
Jordan flinched. “Sorry,” he muttered, though no one had touched him.
The streetlight flickered, and the puddles below it looked like coins of melted gold. A car rushed past—whoosh—and sprayed a fan of water that darkened Jordan’s jeans.
He stared at the road, pretending he didn’t care. Inside, his stomach tightened like a knot.
“Bus is late,” the woman said.
Jordan shrugged. “Great.”
He didn’t say it like it was great at all.
Question: In an audio version, what would the listener experience that is different from reading the passage?
- The listener would hear the narrator’s pacing and pauses, which could make the waiting feel longer or shorter than it does on the page. (correct answer)
- The listener would be able to see the puddles and streetlight instead of imagining them.
- The listener would learn new information about why the bus is late that is not in the text.
- The listener would choose exactly where to pause after each sentence more than a reader can.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes sensory elements that differ across mediums: rain sounds ('whisper' to 'steady drumming'), onomatopoeia ('pop,' 'whoosh'), visual imagery (puddles like 'coins of melted gold'), and dialogue requiring tone interpretation (Jordan's sarcastic 'Great'). Choice A is correct because it accurately identifies how audio affects pacing and atmosphere: a narrator controls the speed of delivery, length of pauses, and rhythm, which directly impacts how the waiting and tension feel—the pause before 'Bus is late' could be stretched to emphasize awkwardness or shortened to maintain flow, while readers control their own pacing and pause length. Choice B represents the common error of confusing audio with video—students mistakenly think audio includes visual elements when it only provides sound; readers must imagine puddles and streetlights in both reading and audio formats. To help students master medium comparison: Have them read the passage silently, noting where they naturally pause, then listen to different audio performances to hear how narrator choices affect mood. Practice with the rain description: read it quickly versus slowly to demonstrate how audio pacing changes the feeling of waiting at the bus stop, unlike reading where each person sets their own tempo.
Question 13
Read the poem.
Night on the porch is a listening place,
Where crickets click in a steady race.
The wind goes hush—then whap—through trees,
And swings the hammock with creaky ease.
A far-off dog gives one low bark,
Then silence stitches up the dark.
My brother whispers, “Did you hear?”
As if the shadows might come near.
I hold my breath and count to ten;
The night breathes out, and so do I then.
“Nothing,” I say. “It’s just the air.”
But even my voice sounds thin out there.
Question: What is one way listening to an audio version of this poem would differ from reading it on the page?
- The audio version would show the porch and trees, so the listener would not need to imagine them.
- The audio version could emphasize the onomatopoeia in words like “whap” and the rhythm of the lines, affecting the mood. (correct answer)
- The audio version would change the poem into a different genre with new stanzas and new characters.
- The audio version would let the listener reread any line instantly in the same way silent reading does.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This poem includes sound devices perfect for audio performance: onomatopoeia ('whap'), rhythm patterns ('crickets click in a steady race'), dialogue requiring tone ('Did you hear?'), and atmospheric descriptions that benefit from vocal delivery. Choice B is correct because it accurately identifies how audio enhances poetic elements: a narrator can emphasize the onomatopoeia 'whap' with sharp pronunciation or actual sound effects, perform the cricket rhythm through pacing ('click-click-click'), and use voice modulation to create the night's mood—these auditory elements are imagined when reading but become concrete interpretations in audio. Choice A represents the common error of confusing audio with video—students think audio 'shows' visual elements like porches and trees when audio only provides sound; both reading and audio require listeners to imagine visual settings. To help students master medium comparison: Read the poem aloud emphasizing different sound elements (whisper 'hush,' snap 'whap,' quicken pace for cricket clicks), then discuss how these performance choices affect mood compared to silent reading where each reader creates their own internal soundtrack. Have students mark sound words and rhythm patterns, then practice performing them to understand how audio brings these elements to life versus reading's imaginative interpretation.
Question 14
Read the poem.
In the cafeteria line, the trays go clack,
Milk cartons march in a wobbly stack.
I tell my friend, “It’s fine. I’m okay.”
My words sit still, but my hands give me away.
The lunchroom roars like ocean foam,
Yet somehow I feel far from home.
“Fine,” I repeat, and stare at the floor—
A small, plain word that can mean much more.
Question: Which choice best explains what an audio version could add to help a listener understand the speaker’s feelings?
- The audio version could use the speaker’s shaky or flat voice on the word “Fine,” showing emotion that the reader must infer. (correct answer)
- The audio version would replace the poem with a list of facts about cafeteria rules.
- The audio version would remove the rhythm and sound patterns because those only work in silent reading.
- The audio version would let the listener see the cafeteria line, so no description would be needed.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This poem includes emotionally ambiguous language ('It's fine. I'm okay' contrasted with 'my hands give me away'), repetition showing internal conflict ('Fine,' I repeat'), and metaphorical language ('lunchroom roars like ocean foam'). Choice A is correct because it accurately identifies how audio reveals emotion through vocal performance: when the speaker says 'Fine' while staring at the floor, a shaky voice would reveal anxiety, a flat monotone would suggest depression or withdrawal, while a forced cheerful tone would indicate pretending—readers must infer these emotions from context ('hands give me away,' 'small, plain word that can mean much more'), but audio makes one specific emotional interpretation clear through vocal delivery. Choice C represents the common error of misunderstanding how poetry works in audio—students incorrectly think rhythm and sound patterns only exist in written form, when actually audio enhances these poetic elements through performance, making rhythm more pronounced and sound patterns more noticeable. To help students master medium comparison: Have different students read 'It's fine. I'm okay' with various emotions (confident, nervous, sad, angry), discussing how each performance changes meaning while words stay constant. Chart 'What the Poem Says' versus 'How Voice Reveals Feelings' to show audio's interpretive power.
Question 15
Read the passage, then answer the question.
The cafeteria smelled like pizza and bleach. Posters about kindness drooped on the walls, their corners curling.
Sloane slid into the seat across from Marcus. He was staring at his tray like it had insulted him.
“You’re really not coming?” Sloane asked.
Marcus shrugged without looking up. “I’m busy.”
Sloane waited. The word “busy” sat between them like a lump.
“With what?” she pressed.
Marcus’s fork scraped the plastic tray. “Stuff.”
Sloane’s voice softened. “Marcus, it’s the robotics showcase. You built half the arm.”
He finally looked at her. His eyes were flat, but his jaw was tight. “I said I’m busy.”
Sloane felt her patience snap like a rubber band. “Fine.”
Marcus blinked. “Fine?”
Sloane pushed her chair back. It squealed against the floor. “Fine,” she repeated, but this time it sounded different even to her.
Marcus stared after her as she walked away. He wanted to call her back. He didn’t.
Question: In an audio version, why might the repeated line “Fine” be understood differently than in silent reading?
- Because an actor could change volume, stress, and emotion between the two times, while a reader must infer the difference from context. (correct answer)
- Because audio automatically explains what Marcus is thinking in extra sentences that are not in the text.
- Because audio changes the setting from a cafeteria to a robotics lab so the argument makes more sense.
- Because silent reading includes real sound effects like chair squeals, while audio cannot include them.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes repeated dialogue ('Fine' said twice with different meanings), emotional subtext, and character tension that would be conveyed differently through vocal performance versus reading. Choice A is correct because it accurately identifies how audio performance differentiates repeated words: an actor could say the first 'Fine' with sharp, hurt anger and the second 'Fine' with resigned sadness or bitter acceptance, using volume, pitch, speed, and emotion to show the change, while readers must infer this tonal shift from context clues like 'her patience snap like a rubber band' and 'this time it sounded different even to her.' Choice D represents the common error of reversing medium capabilities - reading doesn't include real sound effects; readers imagine sounds from descriptions, while audio can include actual performed sounds; students confuse which medium provides actual versus imagined sensory elements. To help students master medium comparison: Have students practice saying 'Fine' with different emotions (angry, hurt, sarcastic, defeated) to understand how audio conveys meaning through performance. Create a chart tracking repeated words/phrases in texts and discuss how their meaning changes through context in reading versus through vocal performance in audio, emphasizing that readers interpret while listeners receive a specific interpretation.
Question 16
Read the passage.
The library’s back room was cooler than the rest of the building, as if it stored quiet the way a freezer stores ice. Sienna followed Mr. Ortiz between tall shelves. The fluorescent lights buzzed, and somewhere a cart wheel squeaked in a slow circle.
Mr. Ortiz stopped at a cabinet with a broken label. He slid out a drawer, and the metal rails scraped: skrrr.
Sienna leaned in. Inside lay a stack of postcards tied with twine. The top one showed a lighthouse, its ink faded to gray-blue.
“These were found in a donation box,” Mr. Ortiz said. He spoke like he was trying not to wake someone.
Sienna touched the twine. It felt rough, like a tiny rope. “Why are you showing me?”
Mr. Ortiz hesitated. “Because your name is on the back.”
Sienna’s throat went dry. She tried to laugh, but the sound stayed stuck.
“That’s impossible,” she said.
Question: Which detail would be most noticeably different in an audio version compared to reading?
- The listener would hear sound effects like the drawer scraping (“skrrr”) and the lights buzzing, while a reader only imagines those sounds. (correct answer)
- The listener would see the faded lighthouse postcard, while a reader cannot know what it looks like.
- The listener would receive extra postcards that were not mentioned in the passage.
- The listener would understand the passage faster because audio always uses simpler words than written text.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes multiple sound elements: onomatopoeia ('skrrr'), ambient sounds (buzzing lights, squeaking cart wheel), dialogue with emotional undertones (Mr. Ortiz speaking 'like he was trying not to wake someone'), and Sienna's stuck laugh. Choice A is correct because it accurately identifies the most noticeable audio difference: sound effects like the drawer's 'skrrr' scraping and fluorescent lights buzzing would be actually heard in audio (through sound effects or vocal mimicry), while readers only see these written descriptions and must imagine the sounds—the concrete audio experience differs significantly from the imaginative reading experience. Choice B represents the common error of confusing audio with video—students think audio lets listeners 'see' the postcard when audio only provides sound; both reading and audio require imagining visual elements like the faded lighthouse image. To help students master medium comparison: Have students list all sound words in the passage (skrrr, buzz, squeak), then compare reading (seeing letters that represent sounds) versus audio (hearing actual or mimicked sounds). Practice making the 'skrrr' sound to demonstrate how audio interpretation brings onomatopoeia to life differently than seeing it written.
Question 17
Read the passage, then answer the question.
At the school science fair, Priya’s volcano sat on a paper plate, painted a brave red that didn’t quite hide the glue bumps. A poster behind it listed steps in careful handwriting. The cafeteria smelled like pizza, marker ink, and a hundred different projects.
“Ready?” her dad asked, holding a small cup of vinegar.
Priya nodded, but her smile felt stiff. Across the room, judges in clipboards moved like slow birds.
Her friend Camila leaned in. “If it doesn’t erupt, just say it’s a ‘dormant model.’”
Priya snorted. “That’s not a thing.”
Camila’s eyes sparkled. “It is if you say it confidently.”
Priya poured baking soda into the crater. The powder puffed up like flour.
Her dad whispered, “Now.”
Priya tipped in the vinegar. For one breath, nothing happened.
Camila murmured, “Dormant model.”
Then the volcano burped—blup!—and foam slid down the sides in a slow, messy river.
How might an audio version change the way you experience the moment “the volcano burped—blup!” compared to reading it?
- An audio version could include a real “blup” sound effect and excited reactions in the voices, while reading requires you to imagine how that sound and emotion would come across. (correct answer)
- An audio version would show the color of the volcano and the foam, while the written text cannot mention colors.
- An audio version would change the science fair into a concert so the sound effect fits better.
- An audio version would remove Camila’s joke because humor cannot be understood by listeners.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes onomatopoeia (blup!), character reactions requiring vocal interpretation, and a comedic moment that would be experienced differently in audio versus reading. Choice A is correct because it accurately identifies that audio can include an actual 'blup' sound effect for the volcano eruption and perform the characters' excited reactions with specific vocal emotions, while reading requires readers to imagine how that sound would actually sound and how the excitement would be expressed. Choice B represents the common error of confusing audio with video - students mistakenly think audio shows visual elements like colors when it only provides sound. To help students master medium comparison: Create lists of textual sound effects (blup, boom, splash) and have students predict how these would sound in audio versus how they imagine them when reading. Practice performing character reactions to show how 'excited voices' can sound many different ways in audio while readers create their own interpretation. Use science fair or presentation scenes to analyze what sensory details transfer to audio (sounds, voices) versus what remains in imagination (colors, visual actions). Watch for students who think audio includes visual information or who don't understand how written sound effects become actual sounds in audio performance.
Question 18
Read the passage.
Kai sat on the edge of the dock, shoes dangling above the lake. The water below was dark green, but when the sun hit it, it flashed silver like a moving mirror. A boat engine growled in the distance, then faded.
His grandmother handed him a fishing rod. Her hands smelled faintly of lemons and lake water.
“You don’t have to talk,” she said.
Kai stared at the ripples. The line trembled, even though no fish pulled it. He swallowed.
“I’m not mad,” he said.
His grandmother tilted her head. “Then what are you?”
Kai’s mouth opened, then closed. He could hear the tiny clicks of insects in the reeds. He wished feelings came with instructions.
“I don’t know,” he admitted.
His grandmother nodded once, as if that answer made sense.
Question: What is an advantage of reading this passage silently compared to listening to an audio version?
- Reading lets you set your own pace and linger on Kai’s pauses and thoughts, while an audio narrator chooses the timing for you. (correct answer)
- Reading includes real sound effects of insects and boat engines, while audio cannot include sounds.
- Reading changes the dialogue so Kai gives a clearer answer than “I don’t know.”
- Reading makes the setting visible, while audio requires you to imagine what the lake looks like.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes reflective pauses ('His mouth opened, then closed'), internal thoughts ('He wished feelings came with instructions'), sensory details (water flashing silver, insects clicking), and meaningful silences between dialogue. Choice A is correct because it accurately identifies reading's advantage of self-paced engagement: readers can pause after 'His mouth opened, then closed' to contemplate Kai's struggle, linger on 'He wished feelings came with instructions' to connect with the sentiment, or reread the grandmother's patient responses—while audio moves at the narrator's predetermined pace, potentially rushing past moments readers want to savor or reflect upon. Choice B represents the common error of reversing medium capabilities—students incorrectly think reading includes real sounds while audio cannot, when actually audio would include insect clicks and boat engines as sound effects while reading only describes them in words. To help students master medium comparison: Have students mark places where they naturally pause while reading (after Kai's admission, during his struggle for words), then listen to an audio version noting where they wished they could pause longer. Discuss how reading allows personal pacing for emotional processing while audio controls the emotional journey's tempo.
Question 19
Read the passage, then answer the question.
Rain stitched the window with quick, silver lines. In the kitchen, a kettle began to hiss, and the whole room smelled like oranges from the peel Mrs. Rivera had left on the counter.
Eli slid his science fair poster under his arm. “So… you saw it?”
Mrs. Rivera didn’t look up from the sink. Water rushed over the dishes like a small river. “I saw the mess,” she said.
“It wasn’t a mess,” Eli insisted. He tried to laugh, but it came out thin. “It was an experiment.”
Mrs. Rivera turned, holding a plate like it was evidence. Her eyes were tired, not angry, and that made Eli’s throat feel tight. “An experiment that exploded blue foam on my ceiling.”
Eli stared at his shoes. He could still hear the pop from yesterday, sharp as a snapped rubber band.
“I can clean it,” he said quickly. Then he added, softer, “I didn’t mean to.”
Mrs. Rivera set the plate down with a careful clink. For a moment, the only sound was the rain and the kettle.
Finally, she said, “Eli… I need you to think before you mix things.”
He nodded, even though she couldn’t see him. “I did think,” he whispered. “Just not far enough.”
Question: In an audio version, how might the line “It wasn’t a mess,” Eli insisted sound different from how you imagine it when reading?
- It would be spoken with a specific tone—defensive or embarrassed—while a reader must decide that tone from the words and context. (correct answer)
- It would include new lines that explain the experiment step-by-step, while the text leaves the steps out.
- It would be easier to reread the sentence instantly, because audio allows you to scan back with your eyes.
- It would show Mrs. Rivera’s facial expression clearly, which is impossible in sound.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes dialogue with emotional subtext ('It wasn't a mess,' Eli insisted), descriptive language about tone (tried to laugh, but it came out thin), and character emotions that would be interpreted differently across mediums. Choice A is correct because it accurately identifies how audio performance adds specific vocal interpretation: when reading 'It wasn't a mess,' Eli insisted,' readers must infer from context clues (his thin laugh, later whispering) whether Eli sounds defensive, embarrassed, or desperate, but an audio narrator would make a specific choice about tone, pitch, and emotion, providing one definitive interpretation of how Eli sounds. Choice B represents the common error of thinking different mediums change content - audio versions don't add new lines or change the story's events; they present the same text through a different medium. To help students master medium comparison: Practice with the same dialogue line read multiple ways - have students read 'It wasn't a mess' as defensive, embarrassed, pleading, or confident to demonstrate how audio makes interpretive choices. Create a chart showing what stays the same (words, plot, characters) versus what changes (vocal interpretation, pacing, sound effects) across mediums, emphasizing that content remains constant while presentation varies.
Question 20
Read the passage, then answer the question.
The trail behind the nature center narrowed until it was just two muddy lines between ferns. Ava could smell wet earth and pine sap. Somewhere above, a bird called out, sharp and bright.
“Map says the creek is close,” Dad said, but he sounded unsure.
Ava held the compass flat on her palm like she’d seen in a video. The needle trembled, then pointed north.
“We should go left,” she said.
Dad stopped walking. His boots sank with a quiet squish. “Are you sure?”
Ava hated that question. It made her feel small, even when she was right. She lifted her chin. “Yes.”
Dad studied the trees. The forest looked the same in every direction—green, dripping, and crowded.
Ava listened. Beneath the bird calls and the wind, she thought she heard water, faint but steady.
Dad exhaled. “Okay. Lead the way.”
Ava stepped left. Her heart thumped hard, but she kept her face calm.
Question: What would a listener most likely experience in an audio version that a reader must imagine while reading?
- The exact look of the ferns and trees, because audio provides detailed visuals.
- The sound of the bird call, the squish of boots, and Dad’s unsure tone, which could be performed rather than only described. (correct answer)
- A different ending where the compass breaks, because audio versions often rewrite scenes.
- The ability to stop time in the story, because audio pauses the characters’ actions but reading cannot.
Explanation: This question tests CCSS.RL.6.7: comparing and contrasting the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version, including contrasting what they 'see' and 'hear' when reading to what they perceive when listening or watching. Different mediums present the same text in fundamentally different ways: READING engages imagination (readers create mental images, hear dialogue in their minds, control pacing), AUDIO provides auditory interpretation (vocal tone, sound effects, music, narrator's pacing), VIDEO/LIVE presents visual and auditory interpretation (actors' appearance, facial expressions, movement, setting, costumes, director's choices). This passage includes sound descriptions (bird call, boots squishing), dialogue with emotional undertones (Dad's unsure tone), and natural setting details that would be experienced differently in audio. Choice B is correct because it accurately identifies what audio can provide: the sharp, bright bird call would be an actual performed sound rather than a description, the 'quiet squish' of boots could be created with sound effects, and Dad's unsure tone when saying 'Map says the creek is close' would be performed with specific vocal qualities showing uncertainty, while readers must imagine these sounds and infer the tone from the text 'but he sounded unsure.' Choice A represents the common error of confusing audio with visual media - audio cannot provide visual details of ferns and trees; only video or live performance can show visuals, while audio is limited to sound; students make this mistake by not understanding the limitations of each medium. To help students master medium comparison: List all sensory details in the passage and sort them into what audio can perform (sounds like bird calls, squishing boots, water sounds) versus what readers must imagine (visual details like muddy trail, ferns, Dad studying trees). Have students practice reading Dad's line with different levels of uncertainty to understand how audio makes interpretive choices about emotional delivery that readers must infer from context.