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Once they arrive at the diving point, Taylor and his assistant, Javier, begin to chum the water with blood and fish guts, to attract the sharks to the boat. The guys go first; they put on their scuba gear, get in the cage and go down into the water with their camera. While the guys are down there, the girls are preparing themselves to go next.

Again, Lisa is panicking. He says yes, but if she drops it, she has to go down to the bottom to get it some really good foreshadowing here. The girls are in the cage, 5 meters below the water. Taylor tells them to sit tight, and the guys chum the water some more. As they watch the camera fall, a Great White shark comes up from the depths and eats it. While the girls are watching the sharks, the cage slips and they drop down a bit. Lisa panics and asks Taylor to bring them back up. First Plot Point: The wench fails, releasing the cable attached to the cage, which sends the cage plummeting—fast—to the bottom of the ocean along with the crane the wench is attached to.

There were a lot of hints leading up to this moment, but the actual plot point is when the cage falls and then hits the ocean bottom. The speed of the fall and the intensity of the crash knocks Lisa out cold. She almost looks peaceful. Kate does her best to calm her down, because panicking will just cause them to use up more oxygen and their tanks are already low.

Kate says if she swims up, she can get in range so she can talk to Taylor and find out what to do. So Kate decides to try and slip through the bars of the shark cage so she can get out and open the door. Lisa tells her not to talk like that. Then Kate swims over to the door of the shark cage and attempts to move the crane out of the way.

After much effort, she manages to move the wench off the door so they can go in and out. Then she swims up and attempts to contact Taylor. Taylor also tells Kate they installed a backup wench and Javier is coming down with a new cable to attach to the cage so they can pull them up. All they have to do is wait. They sit in the cage together and talk about their regrets and their lives. Kate apologizes for getting them into this mess. After a little while, they hear a noise that sounds like the boat left.

Lisa freaks out so Kate decides to swim up again and try to make contact. No one is there, and then out of the darkness comes a shark. It almost gets her, but she manages to get away and back to the cage. But the shark is swimming around them and attacking the cage. Lisa is now deciding to be intentional about rescuing them by going to find Javier, who has the backup wench that will pull them to safety. Lisa swims as fast as she can into a rock-cave, just narrowly avoiding the shark.

She stays for a minute, but then the shark tries to get into the cave, which drives her out of the hole.

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She continues to hide behind a rock, waiting for the shark to leave. Lisa picks up the flashlight and begins to swim back to Kate when suddenly she realizes she has no idea which direction she just came from. Swimming in circles, Lisa decides to choose a direction to swim in and she keeps going.

But she swims right into a shark and narrowly avoids becoming its meal. As she spins around, trying to figure out which direction to swim, she bumps into Javier, who screams at her to go back to the shark cage… right before a shark gets him. Lisa screams and continues to make her way back to where she came from. She calls out for Kate and finally Kate can hear her again. Lisa tells her to bang a rock on the cage so she knows what direction to swim in.

She also finds a spear gun, which she can use to protect her and Kate from the sharks. Lisa finally manages to make it back to the shark cage. She hands the spear gun to Kate, and then hooks the backup wench up to the top of the shark cage. He tells her to get back in the cage immediately. Lisa is stuck and Kate will be out of air in minutes.

So Kate swims up to try and make contact with Taylor. When she does, he tells her the Coast Guard is on their way and they have a specialized rescue team equipped to get them out of there safely. The girls wait patiently for the tanks to drop down to the ocean bottom. Once they do, Kate leaves the cage to go and get them.

Once she does, she sees that Taylor has also sent down water flares, so they can signal once the Coast Guard gets there. Kate makes her way back to the cage with the extra tank for Lisa.


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But a shark gets her and she drops the tank, out of reach of the cage. Lisa is trapped under the cage and has no idea if Kate is dead or alive. And her air is just about out. Lisa looks over and sees the spear gun. She realizes she can use the spear to pull the extra tank over to her.

But as she tries to reach for it, she accidentally hits the trigger and the spear shoots toward her hand, slicing it open. After a lot of pain and effort, she pulls it close enough where she can reach it. She fumbles with the scuba gear, trying to reattach the new tank. Second Plot Point: Lisa attaches the second tank to her scuba gear and now she can breathe again. There was still more to come. After the SPP, no new information can come into the story. Everything that shows up must be set up, hinted at, foreshadowed or mentioned previously. And the Protagonist is now ready to step up, be the hero and defeat the Antagonist.

As she sits there staring at it, suddenly she hears Kate. So Lisa decides she has to rescue her. She places the bag under the cage and then inflates it. Despite the pain, Lisa is now free.

Wench by Dolen Perkins-Valdez

She calls out for Kate and then leaves the cage to go and find her. After a minute or so she finds Kate, laying by a rock on the bottom of the ocean. So she activates one of the flares as an attempt to ward off the sharks, and they begin swimming up. He tells them they have to come up slowly and do a decompression stop when they get to 20 meters.

Kate tries to pull another one, but she drops it. Lisa grabs the final flare and ignites it just as three sharks are closing in on them.

There's more to life than being happy - Emily Esfahani Smith

She violently flails the flare around, trying to keep the sharks back until the decompression time is done and they can make a break for the surface. As soon as Taylor calls time, the girls take deep breaths, remove all their scuba gear and break for the surface. At the surface, they scream for help. Taylor throws them a life preserver and they grab hold of it.

By some miracle, Taylor and the guys manage to pull Lisa and Kate into the boat. Lisa looks at her hand again, the blood is still coming out of it. Finally Lisa snaps to, just as the Coast Guard arrives to rescue her. Have you ever seen 47 Meters Down? What did you think of the twist ending?


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Did you see it coming? Share in the comments. About the Author: Jennifer Blanchard a multi-passionate author, screenwriter, blogger and coach who is on a mission to change the way writers think and challenge what they believe is possible. In early , after years of struggling with her stories, she found Larry Brooks and learned about story structure, which changed everything for her. She published her debut novel, SoundCheck , in Grab her FREE Story Secrets audio series and get the inside scoop on the things Jennifer sees writers getting wrong most often in their stories, so you can get it right.

Filed under Guest Bloggers. What a great analysis! It makes me want to view the movie to follow your points. Well, I had to watch it and come back to read the analysis. Well done! But then the cable breaks.

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Do you agree, Jennifer? Harald — one of the nice things about structure is the way it gives us authors options. A pinch point is, of course, the re-insertion of threat into the narrative.

Ed tech, creative teaching, less reliance on the textbook.

Thanks for the reply, Larry. How does an author of historical fiction determine what is true or authentic? How is writing historical fiction different from writing biography? Research: Questions and Answers. I hope readers will find their own answers in Voices, and not just about Joan. Have your students explore this quote. What kinds of answers does he refer? Use Voices as a springboard for students to research a historical figure that they have a lot of questions about individually or in small groups.

Provide students with the opportunity to write up their research as either historical fiction verse or prose or nonfiction verse or prose. Representations of Joan.

As they read Voices , have students consider other texts on Joan of Arc. What voice is Joan given? What facts are shared and which are omitted? Use the resources included below for your explorations. What about representations of Joan in art and film over the centuries? Be sure to give students time to investigate multimedia presentations of Joan curated by the National Institute of Audiovisual of France. What do they learn from this book? How did womanhood differ depending on what part of Europe you lived in?

How did concepts of womanhood, and female power and privilege emerge over the entirety of the medieval period, from the fall of Rome to the early 16th century? Explore the Society for Medieval Feminist Scholarship webpage to find a scholar with whom your class can discuss gender roles in the medieval period. Perhaps you can host a nearby scholar, or have a Skype session for questions and answers and recommended source material.

Have students share their newfound knowledge by creating Voicethreads or other multimedia presentations. Joan of Arc Museum, Normandy, France. Joan of Arc, Biography. Joan of Arc Tour, Tours International. Society for Medieval Feminist Scholarship. The Ballade, Academy of American Poets. The Rondeau, Academy of American Poets. The Triolet, Academy of American Poets. The Sestina, Academy of American Poets.

The Villanelle, Academy of American Poets. Poetry Out Loud. Louder Than a Bomb. Brooks, P. Beyond the myth: The story of Joan of Arc.

Teaching Wench

Houghton Mifflin. Gordon, M. Joan of Arc: A life. Alexander, K. The crossover. Houghton Mifflin Harcourt. Pinkney, A. The red pencil. Little, Brown and Company. Reynolds, J. Long way down. Lai, T. I nside out and back again. Hemphill, S. Wicked girls: A novel of the Salem Witch Trials.

Balzar and Bray. Powell, P.