To determine the genre of the story "Big Water," we need to assess the elements presented in the excerpt. If the story involves futuristic technology, otherworldly beings, or speculative scenarios based on scientific principles, then it would likely fall under the category of science fiction. If the narrative includes magical elements, mythical creatures, or fantastical settings, it would be classified as fantasy.
Since the options also include adventure and mystery, consider whether the story focuses on an exciting journey or quest (adventure) or if it centers around solving a puzzle or uncovering secrets (mystery).
Without the specific excerpt, I can't definitively determine the genre, but typically, an analysis of the thematic elements present would guide you to the right choice among adventure, science fiction, mystery, or fantasy. If you provide more details or themes from the story, I could give a more accurate assessment.
Big Water by Andrea Curtis Today I feel only dread. I’m sweating again—my cheeks are flushed. I thought I would feel relieved to be back in civilization, to be rescued from certain death, but instead, seeing the town and the men rushing about on the dock, the boats and sails and horse-drawn wagons, I’m struck again by what we have just endured. I want to find Daniel, see his face, know that he remembers too, but he’s tunneled down beneath the blankets like a mole. “Parry Sound,” Henry calls out, and I see the blankets covering Daniel begin to stir. Along the shore, lumber is stacked in piles as high as a schooner. It looks like a pencil drawing done with a ruler—perfect, straight lines. Boats, most of them small, meant for fishing, dot the bay here and there. Some are tied up at dock; others are anchored in the water just past the river. The chimney stacks of houses and large wood-frame buildings whisper smoky murmurs into the sky. I hear the hwah of a seagull and look up, hoping absurdly to see the bird from the other day. But there are many seagulls, all of them flying around like tugboats escorting a ship into harbor.
The wind begins to die as we get closer, and Henry and Eva set to work dousing the sails. I want to help them, show my gratitude, but when I try to move, the muscles in my legs are putty, my head a spinning top. Eva looks at me with eyebrows raised and shakes her head no. She points to the bottom of the boat. I should sit. Henry and Eva fold the sails and get out oars. We are bumping up against the stone-filled cribs of a large, wide dock within minutes. I watch the men on the docks with their untamed beards and callused hands, their frayed wool pants and faded hats. They are young and old and move about like a kind of machine, few of them speaking but working together without need of words. Moving cargo, hauling wood, cleaning boats. Picking up, passing, carrying. I hear one call to another in French, someone respond in English. A thick-necked tabby cat sneaks down the dock, sniffing here and there. It rubs its long orange-and-white striped side along one burly man’s boot. The man reaches down and scratches the old cat behind its ear, and it leans in toward him. These men pay us little attention until we are banging up against the high dock. Their faces flicker with confusion, then disbelief as Daniel calls out, “We were on the Asia. The boat is sunk. We are survivors! Help us.” He holds up the pillowcase with S.S. Asia stenciled along the hem.
There’s a moment in which nothing happens, as if no one can quite believe what he is hearing. Then one man shouts, “Survivors!” and scrambles to take the bowline. Another reaches far down into the boat to haul Daniel up like a fish on a line. They gesture to me. “Petite fille,” they gasp. I lift my arms, and someone takes my hands. The blanket falls from my shoulders as I’m in the air. “A girl,” one says. “A child.” I don’t have time to think about how strange these words sound, how little I feel like a child, before I am half carried, half dragged down the dock, men smelling of sweat and wood and coal pushing in on either side of me. I am still weak, my forehead on fire once again, and I let them lift me, though I don’t like their arms around my waist, though I want to turn back to Eva to say, Thank you, thank you for your berries and your kindness. Thank you, Henry, for keeping us safe when there was no one else. Daniel is beside me, though he is allowed to walk on his own. I can hear him talking to the men, but I can’t make out the words. There are shouts all around us. “The Asia! Survivors! Make way! Survivors!”
Use the story description to answer the question. A story begins with two characters working together to change a tire. The characters are trying to avoid speaking to each other, and it becomes clear that they had an argument before they ended up in this situation. A red car pulls up behind them. A scene shows one of the two characters riding in the red car, having a lighthearted conversation with its driver. Another scene shows the two characters who were working to change the tire arguing about the driver of the red car. As the driver of the red car approaches the two characters, their eyes meet. It is clear their argument has not been resolved. How does the author use a plot device to create an effect? (1 point) Responses A plot device creates a sense of mystery. A plot device creates a sense of mystery. A plot device increases tension. A plot device increases tension. A plot device increases the conflict. A plot device increases the conflict. A plot device creates a sense of surprise.
In the story description, the author uses several elements, including the unresolved argument between the two characters and the introduction of the driver of the red car, to create an effect. In this case, the dynamics between the characters and their interactions suggest rising emotions and unresolved issues, which leads to a sense of escalating drama.
The most fitting response is that a plot device increases tension. The situation of the characters avoiding communication while working together, combined with their unresolved argument and the appearance of the red car's driver, heightens the tension as readers anticipate the upcoming confrontation or resolution of their conflict.
Use the story description to answer the question. A story begins with a character trying to make a major life decision. The character goes to sleep, and the next day the storyline splits in two. One thread of scenes follows the character showing their life if they had decided the big choice one way. The other follows the character showing their life if they had decided the big choice another way. Both paths involve unexpected downsides and upsides. Near the end of the story, the character hits their head in both storylines. For a moment, the character fully understands both realities and must choose which reality to return to. How does the author’s choice of structure create a specific effect? (1 point) Responses The use of a subplot increases tension. The use of a subplot increases tension. The use of parallel plot adds a sense of surprise. The use of parallel plot adds a sense of surprise. The use of parallel plots increases tension. The use of parallel plots increases tension. The use of a subplot adds a sense of surprise.
Use the excerpt from “The Summer of El Pintor” by Ofelia Dumas Lachtman to answer the question. Which sentence or sentences from the passage help readers determine the story’s setting? (1 point) Responses Monica shrank into the black leather of the bucket seat. Monica shrank into the black leather of the bucket seat. She wanted to hide. But why? She took a deep breath, sat up, and forced herself to look around again. She wanted to hide. But why? She took a deep breath, sat up, and forced herself to look around again. The morning mist was completely gone. The sun was strong and bright, intensifying the color of a row of potted marigolds on the front porch of one of the houses. The morning mist was completely gone. The sun was strong and bright, intensifying the color of a row of potted marigolds on the front porch of one of the houses. They shot glances in their direction.
