Lay out the story and its evidence
Portfolio readiness · Four minutes
Place the Lesson 5 unedited telling and listener map, the Lesson 6 A/B repair, the complete Lesson 7 first draft, its word count, cold-reader trace, short handover and revision brief beside one another.
Confirm that both assessed products will tell the established event and make only evidence-supported revisions.
- State the five beats in plain clauses: usual pattern, disruption, choices, outcome and after-effect.
- Name the one written repair and one spoken retest supported by a reader or listener. If no repair was evidenced, record that instead.
- Keep the original draft and recordings unchanged beside the final versions. Check any privacy changes against the saved event line.
Choose the valid starting package for this final assessment.
1. The reader missed who made the soup joke in the Lesson 7 draft. What should the final work use?
One event, two assessed modes
Final assessment brief
| Product | Constraint | Audience evidence |
|---|---|---|
| Written piece | Exactly 430 body words; a local revision of the Lesson 7 draft, not a replacement event | A cold reader recovers five beats, actors, relationship and intended after-effect |
| Spoken narrative | One uninterrupted five-to-six-minute telling from brief beat notes, not a reading of the piece | A listener recovers the same event, who owns quoted words and the narrator’s stance |
| Development record | Baseline, Lesson 6 A/B choice, both written versions, recordings, reader and listener traces | Claims cite exact lines, phrases or time stamps and keep self-evidence labelled |
Match each observation to the product or record it directly assesses.
W Final written piece
S Final spoken narrative
D Development record
1. The revised text is exactly 430 body words under the recorded counting convention.
2. A listener follows all five beats after an unedited five-to-six-minute telling.
3. The first draft and final version show which phrase was repaired and why.
4. The page makes it clear that Celeste, rather than Nara, made the soup joke.
5. A brief self-repair restores the correct actor without restarting the performance.
6. The Lesson 6 plain control remains available beside the winning revision.
Choose the procedure that keeps the final listener result interpretable.
1. The spoken listener has already read the final text. What should the record say?
2. Working alone, the learner reconstructs the story after listening to a recording later. How should that result be labelled?
Judge control across six separate dimensions
Unit 42 evidence rubric · Rate each dimension separately
| Dimension | Secure evidence | Emerging or not-yet evidence |
|---|---|---|
| Narrative line | Both audiences recover routine, interruption, choices, outcome and after-effect with the intended actors | A vivid phrase hides timing, actor or consequence |
| Whole-phrase accuracy | Fixed expressions and collocations are complete, natural and locally meaningful | An awkward word partnership or premature completion changes the event |
| Register and relationship | Audience recovers intended apology, humour, distance or affection from the surrounding exchange | A phrase sounds dismissive, theatrical or intimate in a way the scene does not support |
| Figurative control | Metaphor is proportional to the event and supported by earlier details | An image enlarges a small inconvenience into a crisis or competes with the action |
| Written craft | Exactly 430 words; viewpoint, attribution and revision remain traceable to the saved story | The written draft loses a speaker, changes a fact silently or reaches the count by deleting a causal link |
| Spoken delivery and repair | Phrase stress, pauses and brief self-repair preserve event and interpersonal meaning over five to six minutes | Prosody reverses ownership or stance, or repeated restarts obscure the event line |
Match each observation to the single dimension it supports most directly.
N Narrative line
P Whole-phrase accuracy
R Register and relationship
F Figurative control
W Written craft
S Spoken delivery and repair
1. The reader and listener both identify who changed the taxi route and when.
2. “The lid came loose” accurately describes the change of state in this scene.
3. Júlio hears the apology as acknowledging his extra time rather than laughing it off.
4. “The evening held together” follows several visible adjustments and does not imply a disaster.
5. The 430-word page attributes the quoted joke to Celeste and preserves the first draft beside it.
6. After saying the wrong name once, the speaker corrects it briefly and continues without restarting.
Calibrate the final gate without rewriting the story
Make only the named repair in the established blue-bowl case. Do not add an event.
1. Nara followed through on collecting Lia before arriving at the pool. — completion time
2. Our lives fell apart when the lid came loose. — figurative scale
3. “The soup is doing most of the work,” Nara joked. — speaker attribution
4. No harm done; thanks for waiting, Júlio. — affected person and stance
Thirty-second spoken gate
Say the beat before the turning point, the turning point and the beat after it from notes.
Check that actor, order and ownership of one selected phrase stay audible before the assessed take.
- Mark one pause before quoted speech and one natural stress on the information the listener needs.
- If the listener misses a documented seam, apply the local revision already in the Lesson 7 brief. Keep the full story for the assessed telling.
Submit the written piece and tell the spoken story
Part 1 · Final 430-word piece · 8 minutes
Use the Lesson 7 revision brief to make only changes supported by its cold reader. Submit the final piece beside the untouched first draft.
Deliver exactly 430 body words with a recoverable event line, purposeful complete phrase choices and a proportional after-effect.
- Minutes 1–3: apply one local written repair or record “no repair evidenced”; leave successful choices intact.
- Minutes 4–5: audit actor, timing, quoted speaker, viewpoint, actual consequence and the person affected.
- Minute 6: identify one complete fixed expression, collocation or metaphor and its job; remove any phrase whose scale, register or density distorts the scene.
- Minute 7: compare the final five beats with the saved Lesson 5 event and mark any deliberate privacy fictionalisation.
- Minute 8: verify exactly 430 body words under the Lesson 7 convention, excluding title and paragraph labels; freeze the submitted version.
Part 2 · Final five-to-six-minute spoken narrative · 17 minutes
Tell the same event to an uninformed listener from five short beat notes. Keep the written piece closed during the telling. If working alone, make an unedited recording and reconstruct later from audio without the notes.
Sustain one five-to-six-minute story whose phrases, prosody and self-repair let the listener recover events and relationships.
- Minutes 1–2 · prepare: review five brief beat notes and one Lesson 7 spoken retest. Mark where a phrase changes stance and where another person’s words need attribution.
- Minutes 3–8 · perform: start a visible timer and speak for five to six minutes in one take. Use complete fixed expressions or metaphor where they help; self-repair briefly and continue rather than restarting.
- Minutes 9–11 · reconstruct: before seeing the written piece, the listener records five beats, actors, quoted speaker, intended attitude and one phrase that clarified or obscured meaning. Label an informed listener or delayed self-check accurately.
- Minutes 12–14 · answer: respond to “Who said that?”, “What changed because of the interruption?” and one question about the affected person. Keep answers within the established event.
- Minutes 15–17 · preserve: save unedited audio, timer result, beat notes, listener map and answers. Do not replace the assessed take with a polished rehearsal.
Part 3 · Evidence record · 5 minutes
Judge the two final products against the six rubric dimensions without collapsing them into one impression.
Mark not yet, emerging or secure for each dimension and cite one exact line, audio time stamp or audience response.
- Keep written and spoken evidence separate where the dimension behaves differently across modes.
- Quote the whole phrase and local context when rating register, metaphor or collocation.
- For any not-yet or emerging mark, name a short next test at the observed seam. Do not assign a transfer cause without repeated learner evidence.
Required Unit 42 portfolio package
| Artifact | Traceability check |
|---|---|
| Final written piece | Exactly 430 body words, count and counting convention |
| Written development | Lesson 7 first draft, reader trace and exact final revision |
| Final spoken narrative | Unedited five-to-six-minute recording and visible timer result |
| Spoken development | Lesson 5 first take, Lesson 6 A/B repair and final beat notes |
| Audience evidence | Reader and listener reconstructions, with informed or self-evidence labelled |
| Judgement record | Six separate ratings with written line, audio time stamp or audience response |
Make a bounded claim from both performances
Choose the claim justified by the stated evidence.
1. The reader recovers all five beats, but the spoken listener mistakes Celeste’s joke for Nara’s. What is the fairest judgement?
2. Both audiences recover a small delay, but the closing metaphor makes one listener infer a family crisis. What is the next test?
3. The speaker briefly corrects an actor name and continues. What can that show?
Close the Unit 42 portfolio entry
Review the six ratings, final written piece, spoken take and development trail.
State one evidenced can-do claim and one precise next test.
- Complete: “In this written and spoken everyday story, I can ___, as shown by ___.” Cite a line or time stamp and an audience response.
- Complete: “I still need to test ___ with ___, because the reader or listener recovered ___.”
- Name one phrase decision that changed between baseline and final work, including why the audience result justified it.
Carry phrase awareness into stories that travel
Choose the Unit 42 principle useful in Unit 43.
1. When an everyday story is retold for a wider media audience, what should remain testable?
Bridge record
Archive the creator, title and exact location of one useful phrase from your complete Modern Love episode and one New Yorker short story or essay beside the Unit 42 portfolio. For Unit 43, note one moment where a person or event is named compactly for an audience that did not witness it. Bring the source location and a question about what that compact wording helps a new reader recover; do not treat the published phrase as automatically suitable for your own story.