7th Grade Reading Quiz: Read Grade Level Literature

Read the drama scene, then answer the question.

(Backstage at the middle school auditorium. A painted cardboard moon leans against a wall. Two students, RILEY and CASEY, wait in costume. The muffled sound of the audience settles like a blanket.)

RILEY: (checking the program) They spelled my last name wrong again.

CASEY: At least they spelled yours.

RILEY: (forces a laugh) Funny.

CASEY: You could tell Ms. Duran.

RILEY: And have her sigh like I’m asking for oxygen. (smooths their sleeve) Whatever. It’s just letters.

CASEY: It’s not just letters. (pause) You didn’t come to rehearsal yesterday.

RILEY: I was busy.

CASEY: Busy doing what?

RILEY: (too quick) Homework.

CASEY: You hate homework.

RILEY: People change.

CASEY: (lowers voice) Did you talk to him?

RILEY: Who?

CASEY: Don’t do that.

RILEY: (stares at the cardboard moon) I didn’t say anything.

CASEY: That’s what I’m asking. Why didn’t you?

RILEY: Because it wasn’t my story.

CASEY: It became your story when you heard it.

(A stagehand pokes their head in.)

STAGEHAND: Places in two minutes.

CASEY: (softly) You’re going to go out there and say your lines like you’re not carrying a whole other script.

RILEY: (smiles, but it doesn’t reach their eyes) It’s called acting.

Question: Which line best reveals the subtext that Riley is hiding worry or guilt?

Read the realistic fiction excerpt and answer the question.

Mr. Havel’s apartment smelled faintly of oranges and old books. Nora stood in the doorway with a casserole dish balanced on both palms, as if the slightest tilt might spill more than food.

“I didn’t know what you liked,” she said.

Mr. Havel, who lived alone in 3B, adjusted his thick glasses. His eyes moved from the dish to Nora’s face, then to the hallway behind her, as if expecting someone else to appear.

“Come in,” he said finally. “You can set it—there.”

Nora stepped around a stack of newspapers tied with twine. The living room was dim, curtains half drawn, the light filtered into stripes. On the coffee table sat a model ship, its sails perfectly white, untouched by dust.

“My mom said you were sick,” Nora offered.

Mr. Havel’s mouth twitched, almost a smile, but it didn’t arrive. “Sick is a word people use when they want a story to end neatly.” He cleared his throat. “Tell your mother I’m…recovering.”

Nora set the casserole down and noticed her own reflection in the ship’s glass case. She looked smaller there.

“Do you want me to heat it up?” she asked.

“No,” Mr. Havel said, too quick. Then he added, softer, “Not yet.” He picked up a tiny paintbrush from beside the ship, rolling it between his fingers. “I used to build these with my son. He liked the parts that didn’t fit. Said they were ‘mysteries.’”

Nora waited. The air felt delicate, like it might tear.

Mr. Havel turned the brush over, bristles down. “You’re kind to come,” he said, staring at the carpet. “Kindness is…loud, sometimes.”

Nora’s cheeks warmed. “It’s just dinner,” she murmured, but she didn’t reach for the door.

Question: Which theme is most strongly developed in the excerpt?

The first time Amari saw the community garden, it looked like someone had tried to stitch green thread into a gray sweater. Between two brick buildings, raised beds overflowed with tomato vines and marigolds, their colors almost rude against the sidewalk.

Mrs. Sato handed Amari a trowel. "You can start with the corner bed," she said. Her voice was gentle, but her eyes missed nothing.

Amari knelt and dug into the soil. It was darker than he expected, crumbly and alive. He liked that it didn't pretend to be clean. His sneakers, however, were new. He had saved for them, and the white sides already looked nervous.

"You don't have to worry about dirt here," Mrs. Sato said, as if she could hear his thoughts.

Amari wiped his hands on his jeans anyway.

A kid about his age pushed open the gate, earbuds in, head bobbing. He glanced at Amari's careful movements and smirked. "You're doing it like it's surgery," he said.

Amari's ears warmed. "I'm doing it right."

The kid crouched beside him without asking. He plunged both hands into the soil and yanked out a clump of weeds, roots and all. Dirt sprayed onto Amari's shoes.

Amari flinched. The kid noticed and paused, then brushed the soil off with the side of his sleeve. "Sorry," he muttered, not meeting Amari's eyes. "Habit."

Amari stared at the smudge left behind. The garden hummed with bees, unconcerned. He took a breath and pressed his fingers into the dirt, bare-handed this time. The soil cooled his skin like a decision.

How does the garden setting function as a symbol in the passage?

Read the drama scene and answer the question.

(Scene: The school library, late afternoon. Rain taps the windows. Two students, SAM and PRIYA, sit at a table with a poster board between them. A half-finished slogan is written in marker: “SPIRIT WEEK—BE LOUD!”)

SAM: (staring at the words) “Be loud.” That’s…one way to put it.

PRIYA: It’s what the student council wanted.

SAM: Student council wants a lot of things. Like matching hoodies. Like chants that sound like commercials.

PRIYA: (keeps coloring a letter) You ran for council.

SAM: I ran because you asked me to.

PRIYA: I asked you because you said you wanted to change things.

SAM: I wanted to change things without turning into them.

PRIYA: (caps the marker carefully) You mean without being seen.

SAM: That’s not what I— (He stops. He rubs a wet spot on the table where his sleeve touched.)

PRIYA: When you talk in meetings, you sound like someone who already decided it’s pointless.

SAM: Maybe it is.

PRIYA: Then why are you still here?

SAM: (quiet) Because if I leave, you’ll have to do it alone.

Priya looks at him. She doesn’t smile, but her shoulders loosen.

PRIYA: So help me rewrite it. Something true.

Sam picks up the marker. The rain keeps tapping, patient as a question.

Question: What does Sam’s final response (“Because if I leave, you’ll have to do it alone.”) reveal about his character?

Read the drama scene, then answer the question.

[Bedroom shared by two sisters. A poster reads: “Be Yourself,” the corner peeling. A half-packed suitcase sits on the bed. MAYA (12) folds a sweater precisely. LENA (15) watches from the doorway, arms crossed.]

LENA: You’re really doing it.

MAYA: (keeps folding) It’s just a week.

LENA: A week at Grandma’s is a year in disguise.

MAYA: Mom said it would help.

LENA: Help who?

MAYA: (stops folding; smooths the sweater again) Everyone.

LENA: You mean help Mom not worry.

MAYA: (quiet) You heard her on the phone.

LENA: I heard her whispering like the walls were listening.

MAYA: (zips the suitcase; the sound is loud in the small room) Grandma has space.

LENA: So do we.

MAYA: Not the kind you mean.

[Pause. LENA steps inside, picks up the peeling corner of the poster, then lets it fall.]

LENA: You’re taking the blue sweater.

MAYA: It’s warm.

LENA: It’s mine.

MAYA: (meets her eyes) You never wear it.

LENA: Maybe I was saving it.

MAYA: For what?

LENA: (looks away) For when things go back.

MAYA: (softly) They don’t.

LENA: (too fast) Fine. Take it. Take the whole closet.

MAYA: I’m not taking everything.

LENA: That’s what leaving is.

What is the effect of Lena’s final line, “That’s what leaving is,” on the scene?

Read the drama scene with subtext, then answer the question.

[Kitchen, early evening. A pot simmers. The window is cracked open despite the cold. LEO (13) sits at the table, homework spread out but untouched. RINA (14) stands at the counter, rinsing the same spoon again and again.]

LEO: You’re going to be late.

RINA: (without turning) I know how to read a clock.

LEO: The bus stops running after nine.

RINA: Then I’ll walk.

LEO: It’s snowing.

RINA: (sets the spoon down carefully) Snow doesn’t bite.

LEO: Mom said—

RINA: (quickly) Mom says a lot of things.

[Silence. The pot lid rattles. RINA lowers the heat, slower than necessary.]

LEO: Are you still mad about yesterday?

RINA: (shrugs) Yesterday is over.

LEO: That’s not an answer.

RINA: (finally faces him; her smile is thin) You want an answer? Fine. I’m not mad. I’m… organized.

LEO: Organized?

RINA: I’m putting things where they belong.

LEO: Like what?

RINA: (picks up her backpack, checks the zipper twice) Like my time. Like my plans.

LEO: You mean like leaving.

RINA: (too bright) Don’t be dramatic.

LEO: You’re the one who joined a club across town.

RINA: It’s not across town. It’s just… not here.

[She pulls on her coat. LEO reaches for his pencil, then stops, watching her.]

LEO: If you go, you’ll miss dinner.

RINA: (hand on the doorknob) Save me a seat.

What does Rina’s dialogue most strongly suggest about her real motivation for going out tonight?

Read the realistic fiction excerpt, then answer the question.

Sasha kept the debate binder zipped even when everyone else left theirs open on the cafeteria table like trophies. The zipper's small teeth made a comforting sound, click, click, each time she checked it.

"Relax," Mr. Patel said as he walked by, balancing a stack of ballots. "You've done the research."

Sasha nodded, but her eyes kept returning to the binder. Inside were her note cards, color-coded and numbered. She had rewritten her opening statement three times, not because the words were wrong, but because the margins weren't even.

Across from her, Tessa tore open a packet of ketchup with her teeth and grinned. "If I forget a point, I'll just talk faster," she said.

Sasha tried to smile. Her stomach felt like it was full of paper.

When the judge called their team, Sasha stood so quickly her chair scraped. The sound shot through her like a warning siren. She glanced at the audience and saw her little brother in the back row, swinging his legs, looking bored already.

"Ready?" Tessa whispered.

Sasha's fingers found the zipper again. Click, click.

Onstage, the microphone hummed. Sasha opened her binder and froze. One note card, just one, was missing.

For a heartbeat, she could not breathe. The lights above seemed closer than before, hot and personal. Tessa leaned in, voice low. "Use mine," she said, sliding her own messy stack toward Sasha.

Sasha stared at the crooked handwriting. It looked like chaos. It also looked like a hand reaching out.

Sasha swallowed. She took Tessa's cards.

What does Sasha's repeated attention to the binder zipper reveal about her character?

Grandma's kitchen is a museum where nothing has a label. The wooden spoon is a conductor, commanding soup into song.

Steam climbs the windows and erases the street outside, so the world becomes small, the size of a table we all fit around.

She doesn't ask about my grades. She asks if the new school still feels like wearing shoes on the wrong feet.

I shrug. The answer is a tangled cord. Grandma hums instead, threading quiet through the room like needle through cloth.

When she hands me a bowl, her fingers brush mine, brief as a matchstrike, bright enough to see by.

Outside, the evening waits, a long hallway with doors. But in here, the spoon keeps time, and I remember my name without checking my phone.

What mood does the poem create, and which detail best supports it?

Read the poem, then answer the question.

The mailbox yawns like an empty jaw, metal mouth with nothing to chew. Each day I feed it hope— a stamped square, a careful address— then listen for the click that means the world has taken it.

On the walk back, the street is ordinary: sprinklers ticking, a loose dog barking, sunlight laid out like clean laundry. But my pocket feels heavier without the letter, as if absence has weight.

At home, Mom asks, “Any news?” Her voice is casual, like she’s asking about homework, but her hands keep folding and unfolding the same dish towel.

I say, “Not yet,” and the words are a small umbrella I hold over both of us. Outside, the mailbox waits, patient as a stone, practicing silence.

What does the mailbox most likely symbolize in the poem?

Read the passage and answer the question.

The library’s “Silent Study” sign hung slightly crooked, as if even the rules were tired. Amaya slid into a chair near the window and spread her notebook open like a map. The regional science fair was two weeks away, and her project—an experiment on water filtration—looked neat on paper but stubborn in real life.

She had built three filters from sand, gravel, and charcoal, each layered carefully in cut plastic bottles. At home, though, the water still came out the color of weak tea. Amaya had stared at it until her eyes watered, then had rewritten her procedure in smaller and smaller handwriting, as if shrinking the words could shrink the problem.

Across the table, Mr. Larkin, the librarian, pushed a cart of books with squeaky wheels. He paused, reading the title page of a thick manual as if it were a letter. “You’re back,” he said quietly.

Amaya did not look up. “It’s not working.”

Mr. Larkin set the manual down without a sound. “That sentence,” he said, “is a doorway. It can lead to quitting, or it can lead to curiosity.”

Amaya finally met his eyes. They were calm in a way that made her feel both irritated and steadier. “I’ve done it three times,” she whispered.

“And you learned three times,” he replied. He tapped the manual. “Sometimes the mistake isn’t the materials. It’s the order. Or the patience.”

Amaya’s pencil hovered. She wanted him to tell her exactly what to fix, the way a video tutorial would. Instead, he rolled the cart away, leaving the manual like a challenge.

Amaya opened it. The pages smelled like old paper and possibility. She turned to a diagram of layers and arrows and, for the first time that day, wrote a new heading: Fourth Trial.

Question: Which theme is most strongly developed in the passage?

Read the passage and answer the question.

When the new student arrived, the classroom seemed to tilt slightly, as if everyone's attention had weight. Mr. Han wrote her name on the board, LINH TRAN, in careful block letters. The chalk squeaked on the last stroke, and then the room went quiet.

Linh stood beside the desk, backpack straps pulled tight. She smiled politely, but her eyes kept flicking toward the window, where the flag outside snapped in the wind.

"Linh moved here from Seattle," Mr. Han said. "Let's make her feel welcome."

A few kids murmured hello. Others stared at their notebooks with sudden devotion.

During group work, Mr. Han assigned Linh to Maya and Jordan's table. Maya slid her paper over to make space. "We're doing the poster," she said. "You can do the title."

Linh nodded quickly. She wrote in small letters, each one measured.

Jordan leaned back in his chair. "So," he said, "do you, like, speak English at home?"

Maya's pencil paused.

Linh blinked once. "Yes," she said. "And Vietnamese."

Jordan grinned as if he had won something. "Say something."

Linh's fingers tightened around the marker. She could feel the room's quiet stretch toward her table, pretending not to listen.

Maya cleared her throat. "Jordan, can you cut the pictures instead?" Her voice was light, but her eyes were not.

Jordan shrugged. "Fine." He reached for the scissors.

Linh kept writing the title, but her letters grew steadier, darker. After a moment she said, softly, without looking up, "Chào."

Maya smiled. "Hi," she answered.

What does Maya's response to Jordan's question reveal about her character?

Read the drama scene and answer the question.

(Scene: A school auditorium after rehearsal. The stage lights are off, but a single work lamp glows near the curtains. Two students, JADA and LEO, gather props into a bin. A paper crown sits on a chair.)

JADA: (folding a cape with precise edges) You’re taking the crown home again?

LEO: (too casual) It’s safer with me.

JADA: Safer than…a locked prop closet?

LEO: (shrugs) Things disappear here.

JADA: Funny. The only thing that keeps “disappearing” is the crown.

LEO: You don’t trust me.

JADA: I trust the rules. (She tapes a label to the bin, pressing hard.) The rules keep everyone from turning into…little kings.

LEO: (laughs once, then stops) It’s cardboard, Jada.

JADA: Cardboard that makes people act like it’s gold.

LEO: (lowering his voice) My little brother wants to see it. He thinks it’s real.

JADA: (pauses, then returns to folding) Your brother has never seen you share the spotlight, has he?

LEO: That’s not— (He grips the crown, thumb rubbing the bent point.)

JADA: I’m just saying. Tomorrow, when Ms. Patel asks where it is, I’m not lying.

LEO: (stares at the dark stage) Nobody asked you to.

JADA: They won’t have to. (She closes the bin with a snap.)

Question: What does Jada’s dialogue most strongly suggest about her deeper concern?

Read the poem, then answer the question.

In art class, the teacher says to draw what you see, not what you think you see.

So I sketch my face in the mirror: two eyes that look like questions, a mouth practicing a smile the way you practice a foreign word.

The charcoal smudges. My thumb leaves a gray bruise on the paper’s cheek. I want to erase it, but the teacher says, “Keep the mistakes. They show movement.”

After school, my friend asks why I’ve been quiet. I say, “Just tired,” and my voice is a closed door with music leaking underneath.

At home, I hang the drawing on the back of my closet, where nobody looks unless they are searching.

Which theme is most strongly developed in the poem?

Read the realistic fiction excerpt, then answer the question.

The first snow came late, arriving like it was reluctant to be seen. It dusted the soccer field in a thin, uncertain layer, and the goalposts looked suddenly delicate, like they might snap if someone shouted too loudly.

Leena stood at the edge of the field with her dad’s old scarf wrapped twice around her neck. She watched the younger kids practice, their cleats scraping up dark grass beneath the white. Every time the coach blew the whistle, the sound seemed to travel farther than it should, echoing into the bare trees.

Her phone buzzed. A message from her father: Running late. Don’t wait in the cold.

Leena typed, Okay, then didn’t hit send. The screen lit her hands a pale blue. She imagined her father’s car turning the corner, imagined the familiar wave, the way he always pretended he didn’t see her until the last second.

Behind her, the concession stand was closed, its metal shutters pulled down like eyelids. Leena walked over anyway and sat on the bench beside it. She tucked the phone into her pocket, as if hiding it would change what it said.

A little boy’s ball rolled toward her feet. He chased it, breath puffing out in quick clouds.

“Can you kick it back?” he asked.

Leena looked at the field—at the open space, the waiting net, the white layer that would show every footprint. She placed her boot on the ball and felt it steady under her sole.

“I’m not really playing today,” she said.

The boy shrugged, patient in the way only little kids can be. “Just one kick.”

Leena lifted her foot.

Which mood is most strongly created in the excerpt, and how is it developed?

(Scene: School hallway after the last bell. Lockers slam in the distance. Two friends, TESS and RYAN, stand by a trophy case. A poster for "Spring Debate Showcase" is taped crookedly to the glass.)

RYAN: I saw your name on the list.

TESS: (too bright) Congratulations to me, right?

RYAN: You didn't tell me you signed up.

TESS: I didn't want to jinx it.

RYAN: Or you didn't want me to sign up too.

TESS: (laughs, but it doesn't land) That's not... Ryan, don't make it weird.

RYAN: I'm not. I'm just... surprised.

TESS: People are allowed to do things without announcing them.

RYAN: Sure. People are also allowed to have best friends.

TESS: (glances at the trophy case) You're acting like I stole something.

RYAN: Did you?

TESS: (sharp) No.

RYAN: Then why do you sound like you're defending yourself?

TESS: Because you're interrogating me in front of the trophies.

RYAN: (quietly) You know, it's funny. You always say you hate arguing.

TESS: I do hate arguing.

RYAN: Then why do you look like you're finally breathing?

What can be inferred about Tess's motivation for signing up for debate?

Read the passage, then answer the question.

The library’s basement smelled like paper and rain, even though it hadn’t stormed in days. Juniper descended the narrow stairs, one hand sliding along the wall where the paint bubbled like old bread. At the bottom, a single lamp glowed over a table piled with donated books.

Mrs. Kline, the librarian, was taping a label onto a box. “You’re early,” she said without looking up.

“I couldn’t sleep,” Juniper replied.

Mrs. Kline finally met her eyes. Her gaze was calm, but it didn’t drift away the way other adults’ did when Juniper started talking too fast. “Bad dreams?”

Juniper shrugged, then opened her backpack. A notebook peeked out—its corners soft from being handled too often. “I brought the draft,” she said. She set it on the table as if it were something fragile.

Mrs. Kline didn’t reach for it right away. Instead, she turned the lamp slightly, brightening the page. “You can leave it here,” she said. “Or you can stay while I read.”

Juniper’s throat tightened. Staying meant waiting through silence, meant listening for every tiny sound that might become judgment. Leaving meant walking upstairs alone, carrying her thoughts like a loose stack of papers.

“I’ll stay,” Juniper said, surprised by her own voice.

Mrs. Kline nodded once, as if Juniper had just made a promise. She began to read. The only noise was the quiet scratch of tape being torn, then smoothed down—steady, deliberate.

Juniper watched Mrs. Kline’s face for clues. When Mrs. Kline paused, she didn’t frown. She tapped the margin with a finger, thoughtful, and turned the page.

Juniper exhaled slowly, the way you might after realizing a door you expected to be locked is actually open.

Question: What mood does the author create in the basement scene, and how is it created?

Read the poem, then answer the question.

In the hallway, the trophy case holds its breath— polished glass, frozen smiles, championship years that never wrinkle.

I pass it like a mirror that refuses to reflect me. My sneakers squeak a small confession against the waxed floor.

At lunch, the tables are islands. Laughter travels by boat, and I am a shoreline no one docks at.

Then, in science, a beaker fogs when it meets the flame; for a moment, the clear turns cloudy, and the room smells like change.

After the bell, I wait by the bike racks, watching my breath emerge in the cold— proof that something inside me is still working.

Question: What does the trophy case most likely symbolize in the poem?

On the day of the community clean-up, Eli arrived at the park with a trash grabber he’d borrowed from his neighbor and a pair of gloves that were too big. The morning was bright, almost impatient, and the grass glittered with dew like it had been freshly invented. A cluster of volunteers stood near the pavilion. Some wore matching shirts; others looked as though they’d been persuaded at the last minute. Eli hovered at the edge, pretending to study the map of assigned areas even after he’d memorized it. “Hey,” a voice called. Ms. Sato, the art teacher, waved him over. “You’re on trail duty, right?” Eli nodded. “Good,” she said. “Trail duty needs someone who notices things.” Eli almost corrected her—he didn’t notice things, not in a useful way. He noticed the crooked seam on his glove, the way two boys laughed and then stopped when he looked up, the plastic bottle half-buried like a secret. He walked the trail alone at first. Every few steps, he reached down with the grabber, plucking wrappers from the weeds. The work was repetitive, but it gave his hands something to do besides fidget. Halfway down the path, he saw a little kid struggling with a jammed bag dispenser. The kid yanked harder, and the roll tore, fluttering like a white flag. Eli hesitated. He could keep walking. No one had asked him to help. Then he turned back. He knelt, untangled the roll carefully, and tore off a clean bag. “Here,” he said. The kid’s face brightened. “Thanks!” Eli stood up quickly, as if being seen too clearly might be dangerous. But when he continued down the trail, his steps felt steadier.

Which theme is best developed in the passage?

Read the passage and answer the question.

The first snow arrived like a secret someone forgot to keep. By lunchtime, the soccer field behind Eastview Middle had turned into a blank page, and footprints wrote messy sentences across it. Milo lingered at the edge of the blacktop, pretending to search his backpack for something important. He watched the others—laughing, shoving, collapsing into drifts that weren’t quite drifts yet.

“Coming?” Jada called. Her gloves dangled from one finger like surrendered flags.

“In a minute,” Milo said, though he wasn’t sure what the minute was for.

At home, his mother had taped a bright orange notice to the fridge: RENT DUE. The letters looked almost cheerful, which made him dislike them more. That morning she’d hummed while washing a single plate, as if sound could fill the spaces money didn’t. Milo had offered to skip the winter field trip without saying why. She’d answered too quickly, “We’ll figure it out,” and then turned the faucet on hard.

Now Jada jogged closer, her boots squeaking. “You’re doing that thing again,” she said.

“What thing?”

“The disappearing thing. Like you’re here, but you’re not.”

Milo shrugged. Snowflakes gathered on his eyelashes and melted before he could blink them away. “It’s nothing.”

Jada’s eyes narrowed—not angry, just careful. She picked up a clump of snow and held it out. “Then take it,” she said.

Milo hesitated. The snow looked clean, almost unreal, like a promise that wouldn’t last. Still, he cupped his hands. The cold stung, sharp and honest.

Jada grinned. “See? It doesn’t bite. Not unless you pretend it isn’t there.”

Milo stared at the melting mound. Water slid between his fingers, quick as a thought he didn’t want to finish.

Question: What does Milo’s hesitation to join the others most likely reveal about him?

Read the drama scene, then answer the question.

[School office. A poster reads: “Attendance Matters.” MS. HART, the secretary, types. NIA (13) stands with a crumpled late slip.]

MS. HART: Name?

NIA: Nia Alvarez.

MS. HART: (without looking up) Again.

NIA: The bus—

MS. HART: The bus is always the villain. (prints a slip) Here.

NIA: (doesn’t take it yet) Can you… not write “tardy” so big?

MS. HART: It’s a form. Forms don’t have feelings.

NIA: People do.

[MS. HART pauses, fingers hovering over the keyboard.]

MS. HART: Your teacher asked about you.

NIA: (quickly) I’m here.

MS. HART: Mm-hmm.

NIA: I’m not skipping.

MS. HART: I didn’t say you were.

NIA: (smooths the late slip, then crumples it again) Everyone looks at me like I’m doing something wrong.

MS. HART: (finally meets her eyes) Are you?

NIA: (a beat) No.

MS. HART: Then stop carrying it like a backpack.

NIA: (almost smiles) Easy for you to say.

MS. HART: (softens) What time did you leave your house?

NIA: Early.

MS. HART: And you still didn’t make it.

NIA: (shrugs, but her voice is tight) Some mornings are… crowded.

MS. HART: (slides a pen across the counter) Write me a note. Not an excuse. A note.

What can the reader infer about why Nia is often late, based on the dialogue and stage directions?