Thesis Paragraph Activity
Modeled Instruction:
- Complete Common Lit: Xmas Carol
- Argumentative Essay: Conclusion Paragraph
Independent Practice:
Charles Dicken’s Christmas Carol
Exit Ticket:
Turn in Xmas Carol Worksheet
Do Now:
Thesis Paragraph Activity Modeled Instruction:
Independent Practice: Charles Dicken’s Christmas Carol Exit Ticket: Turn in Xmas Carol Worksheet
0 Comments
DO NOW:
Read Ch. 13 of The Lightning Thief by Rick Riordian Lesson Overview: In this lesson, students will learn an overview of Argumentative writing and will learn how to write an introduction using a claim. Materials Needed: Handout 1: Sample Introduction • Handout 2: Argumentative Writing: Drafting the Introduction WE WILL READ TEXTS: Text 1 : Pro Year Round School and Text 2: Con Year Round School Active Engagement; Instructional Focus: I CAN write arguments to support claims with clear reasons and relevant evidence. I CAN Introduce claim(s) and organize the reasons and evidence clearly. MODELED INSTRUCTION: 1. Review the elements of Argumentative Writing (Slides 1-4). 2. Explain that students will learn to write an introduction specific to an argumentative paper. MODELED INSTRUCTION: 1. Discuss the three elements suggested for an argument introduction (hook, thesis, and overview of how claim will be proven) (Slide 5). 2. Remind students that there is no single way to write an introduction; there are many possibilities. This lesson will provide one possible strategy. Guided Instruction: 1. Share Sample Introduction #1 (Slides 6 & 7) and show students the highlighted text for the three parts of the introduction. Remind students that each of the three sections might not be in a single sentence or in any one particular order. Red = Hook; Purple = The Claim; Blue = How claim will be addressed In Africa, wild giraffes and lions graze and hunt with miles of space to roam. There are no metal bars keeping them in an enclosed area. They are surrounded by other wildlife, fresh air, and natural habitat. Zoos, on the other hand, are little more than prisons, and the animals are the prisoners. Zoo animals deserve more space to roam, the ability to hunt and graze freely, and surroundings that are natural. 2. Share Sample #2 (handout 1 and Slides 8 & 9) with students. Have students work together to identify the three parts of the introduction. 3. After students have finished, review the introduction’s three parts (Click on Slide 9): Most people will never see elephants, kangaroos, or komodo dragons in the wild. For many of us, traveling to these animals’ native countries is simply not a possibility. Zoos make it possible for people like me to experience the beauty of these wonderful creatures. Thanks to zoos, people can learn about animals, see them firsthand, and gain a greater appreciation for the natural world. Independent Practice: 1. Explain that students will now write an introduction on a new topic: year round schools. Hand out the two articles and Argumentative Writing Guide (Slide 10). 2. Distribute handout 2 “Argumentative Writing: Drafting the Introduction.” Review the handout with students, explaining that this will be their guide while writing their argument introductions (Slide 11 & 14). 3. Get students started with reading the passages and completing their handouts. Consider allowing students to work in pairs. 4. Allow students time to complete their introductions. 5. When finished, students should trade with a partner to read their introduction and will write in the peer response. Do Now:
Finish Final Read Ch.10 of The Lightning Thief by Rick Riordian Modeled Instruction: *Before students move to the closing, the teacher should project the entire poem and provide students with a copy of the poem. Complete 'Zoom In, Zoom Out' Graphic Organizer using the guiding questions on the anchor chart: 1. What do the lines or sentences reveal about the plot? 2. What do the lines or sentences reveal about the setting? Teacher Note: During this time the teacher should aggressively monitor student progress. Because the closing will address the question: How do the details that I bracketed contribute to the development of the setting and plot? the teacher should facilitate, allowing students to engage in collaborative learning. Guided Practice: Step 1: Using the Charting Verb Worksheet, analyze the Author's Technique. What is unique about the author's writing style? Make connections between the details. Step 2: Generate a cohesive response, -Write a brief QuickWrite, turn and talk, with your partner and share your responses. Independent Practice: Constructed Response: Using the R.A.C.E. strategy Explain why the author MOST LIKELY included the second stanza in the poem. Exit Ticket: 1. What happens in line 51 (“I peeled my orange”) that is important to the development of the plot? A. The speaker appreciates that he and the girl each have a treat to eat. B. The speaker is embarrassed that he has to eat the orange while the girl eats the chocolate candy. C. The speaker is grateful for the oranges and demonstrates his relief by eating the remaining orange. D. The speaker is reluctant to hold the girl’s hand, so he peels the orange. Answer: C 2. How does line 56 (“I was making a fire in my hands”) affect the resolution of the story? A. The speaker knows that the girl is using him for his money. B. The speaker provides rich sensory language to describe the brightness of the orange. C. The speaker dislikes the cold bitterness of his working-class neighborhood. D. The speaker realizes that although it is cold outside his heart is warm. Answer: D Encourage students to use their Charting Verbs to help explain the author’s craft. ENRICHMENT ACTIVITY: CLASS CRAFT QUESTS Sample Response Constructed Response: Soto most likely included the second stanza of the narrative poem “Oranges” to contrast it to the first stanza, which describes a cold, frozen-like setting. Although the speaker recounts his experiences fondly, in stanza 1, he shows his fear of rejection “I took the nickel from/My pocket, then an orange, / And set them quietly on/The counter” (lines 35-38). However, in the second stanza, a shift occurs and the speaker feels confident. The speaker holds the girl’s hand, the girl eats the chocolate the speaker has purchased for her, and the speaker peels and eats his orange (lines 46-51). These lines are evidence of the change Soto utilizes in the second stanza to resolve the conflict, illustrating that although the December setting is cold, the speaker feels a sense of warmth because he has won his girl. DO NOW:
Day two begins here. Time:20 minutes Now, let’s zoom in on the details that precede the turning point in the plot of the poem. ---Turn and talk to your elbow partner and look for details directly related to the plot. Remember to bracket these details. *TW Circle the room listening to student conversation. Bring the class back together and have a pair who has identified the following details share their response: Possible response: “Lifted a chocolate that cost a dime” (lines 30-34) and “Set them [nickel and orange] quietly on the counter” (lines 35-37). MODELED INSTRUCTION: Teacher note: For students who were not able to generate a cohesive, written response, have them write the model response above on their graphic organizer or poem. STEP 1 We have identified the major plot element in lines 21-42, we have zoomed in on and identified the two details that describe the turning point in the plot. We now zoom back out to analyze how the bracketed lines contribute to the development of the plot. Remember, analyzing how a line or stanza contributes to the setting or plot requires that we ask ourselves what our details reveal about the setting or plot and that we make connections between our selected details. With your elbow partner write what the details reveal about the plot or setting in the margins of your poem. Analyze the details by comparing them. STEP 2 Then, use the Charting Verbs (Modified) to determine the verb that best describes what the author is doing. TW Circle the room listening to student conversation. Have a pair who has put these ideas together (synthesized) share their response. Possible answer: The conflict begins because the speaker does not have enough money (30-34). When the speaker sets the nickel and orange quietly on the counter, his conflicts are evident as he fingers the nickel (line 30) and looks to the saleslady for help (38-42). Soto is dramatizing the conflict and building to the poem’s turning point. GUIDED PRACTICE: Teacher Note: 20 minutes Prior to class, type and cut lines 43, 47, 51, 53, and 56 of the poem “Oranges.” ---Place one set of lines for each group in an envelope. Remind students to bracket the details in the lines. Refer to and project Slide 5 of the RL5 PowerPoint. Distribute the Stanza Two Missing Lines handout to students. Students will use the cut strips of lines 43-56 to fill in the stanza as they analyze the affect of stanza 2 on the resolution of the narrative poem. Ask students to read lines 44-46 and to zoom out and to consider what the setting of the poem would be following the speaker’s trip to the drugstore. Students should choose the line from the envelope that would establish the setting and begin stanza 2. Think about the details that precede line 47 and the details that follow line 47. Using these details, students should zoom out and choose the appropriate line from the envelope to complete the stanza. Students will repeat this process with lines 51, 53, and 56. Students will zoom in, focusing on the particular lines within the stanza that contribute to the development of the plot and setting of the poem. Students should bracket the lines that reveal details about the setting and the plot. Student pairs will check their plot responses with their peers and answer question 5 on the Story Arc handout. INDEPENDENT PRACTICE: Students will zoom out using the guiding questions on the anchor chart: 1. What do the lines or sentences reveal about the plot? 2. What do the lines or sentences reveal about the setting? -To make connections between the details. To generate a cohesive response, students should use the Charting Verb that demonstrates what the author is doing. After a brief QuickWrite, students will turn and talk with their partner and share their responses. *Before students move to the closing, the teacher should project the entire poem and provide students with a copy of the poem. Teacher Note: During this time the teacher should aggressively monitor student progress. Because the closing will address the question: How do the details that I bracketed contribute to the development of the setting and plot? the teacher should facilitate, allowing students to engage in collaborative learning. EXIT TICKET: 1. What happens in line 51 (“I peeled my orange”) that is important to the development of the plot? A. The speaker appreciates that he and the girl each have a treat to eat. B. The speaker is embarrassed that he has to eat the orange while the girl eats the chocolate candy. C. The speaker is grateful for the oranges and demonstrates his relief by eating the remaining orange. D. The speaker is reluctant to hold the girl’s hand, so he peels the orange. Answer: C 2. How does line 56 (“I was making a fire in my hands”) affect the resolution of the story? A. The speaker knows that the girl is using him for his money. B. The speaker provides rich sensory language to describe the brightness of the orange. C. The speaker dislikes the cold bitterness of his working-class neighborhood. D. The speaker realizes that although it is cold outside his heart is warm. Answer: D Encourage students to use their Charting Verbs to help explain the author’s craft. Constructed Response: Explain why the author MOST LIKELY included the second stanza in the poem. Sample Response: Soto most likely included the second stanza of the narrative poem “Oranges” to contrast it to the first stanza, which describes a cold, frozen-like setting. Although the speaker recounts his experiences fondly, in stanza 1, he shows his fear of rejection “I took the nickel from/My pocket, then an orange, / And set them quietly on/The counter” (lines 35-38). However, in the second stanza, a shift occurs and the speaker feels confident. The speaker holds the girl’s hand, the girl eats the chocolate the speaker has purchased for her, and the speaker peels and eats his orange (lines 46-51). These lines are evidence of the change Soto utilizes in the second stanza to resolve the conflict, illustrating that although the December setting is cold, the speaker feels a sense of warmth because he has won his girl. DO NOW:
Activating Strategy Time: 11 minutes Greet students at the door. Refer to Slide 1 of the RL5 PowerPoint —-and project the AVID Story Arc (Modified). As students enter, hand students the AVID Story Arc handout and stanza 1 of the poem “Oranges.” Students will read the poem with a partner and identify the elements of plot using the questions on the handout: 1. How does the story (poem) begin? 2. What important details do we learn about the people and setting? 3. What’s the problem(conflict)? 4. What escalates the problem *Instruct students to respond to the questions. As students read and respond, circle the room and monitor student responses. —-After 10 minutes bring the class back together. 1.Turn and share the details of your story arc with your neighbor. 2.Check your work against your neighbor’s work. 3.Do you have the same placement of events? *If not, engage in a one-minute discussion to arrive at a shared understanding based upon the evidence in the poem. MODELED INSTRUCTION: Modeled/Shared Reading: 15 minutes Provide a mini lesson to model the strategy for analyzing how a line or stanza contributes to the development of the setting and plot. Begin the model by stating the teaching point for today: I will model for you how to zoom in on a line or stanza and analyze how a line or stanza contributes or adds to the development of the setting or plot. —We will practice this work while rereading “Oranges” by Gary Soto. You will continue your practice with the poem “Oranges” and use the second stanza to demonstrate your mastery. In order to analyze how a line or stanza contributes to the setting or plot, I am going to use the Zoom Out and Zoom In Strategy. Zooming out and zooming in on a sentence, chapter, scene, or stanza is like zooming in and zooming out of a picture with your phone’s camera. Sometimes, to capture details we narrow in on an object. And, at other times, we zoom out to see how the details of that object relate to the whole picture. Before we begin, let’s view what it means to Zoom Out and Zoom In. Guided Practice: Refer to Slide 2 of the RL5 PowerPoint and play the Zoom video book by Istvan Banyai. Teacher Note: After viewing the video Zoom, ask students to analyze the ways in which the illustrator Zoomed Out and Zoomed In on the details in the video book. The teacher should note that the illustrator zooms in to look at the details and then zooms out on the big picture. Stamp students’ learning by asking students to analyze the illustrator’s purpose in zooming in and zooming out on the picture. Now that we have seen how an illustrator zooms in and zooms out, let’s look at how an author uses a similar technique. There are three steps I follow to use the Zoom Out and Zoom In Strategy. Refer to Zoom Out and Zoom In Anchor Chart. STEP 1 First, I Zoom Out. I answer the questions: · What is the setting of the chapter, scene, stanza? By setting, I mean the time of day or hour, season, and/or place/location. · What is the plot of the chapter, scene, stanza? STEP 2 Second, I Zoom In on the details that precede and follow the setting or plot and bracket details that describe the setting or plot. Third, I Zoom Out again and I ask myself: · What do these details reveal about the setting? · What do these details reveal about the plot? · How do these details contribute or add to my understanding of the development of the setting or plot? Teacher Note: The poem is two stanzas. For the purpose of the modeled and guided instruction, stanza one has been divided into two sections. The teacher will model lines 1-21, which focuses on a setting that takes place outside. Lines 21-42, which is guided practice, signals a shift in the setting and focuses on a setting that takes place inside. The teacher and the students should note that December is the setting because Soto uses sensory language to describe the season. The teacher and students should also notice that the season is referenced at both the beginning and the end of the poem, completing an arc. I am now going to model the strategy. As I model, I want you to read along with me silently and watch how I zoom out and zoom in on lines and stanzas. First, I am going to zoom out and ask myself what are the setting and plot of the poem “Oranges.” Teacher reads aloud lines 1-21. When I zoom out, I see that the setting that stands out the most in these lines is the “cold” December. I know this because there are several details in lines 1-21 that describe this December day. I am thinking that the author added all of these details about December because he wants the reader to know that this setting is important. So, I am going to underline the word December to identify the setting in the poem. I know that I’m capturing the setting of the narrative poem because seasons are a type of setting. Next, I need to zoom in on the lines that precede or follow the setting. In lines 1-21 I am focusing on the setting, December, and keeping in mind what is happening in the plot. As I read the lines that precede and follow the word December, I am looking for details in the lines that are directly related to that setting. I see in lines 5-7 the author provides sensory language about the season--the sound of the frozen ground, (“Frost cracking/Beneath my steps (lines 4-5) and the sight of “. . .my breath/before me, then gone” (lines 6-7). I know that authors use sensory language to appeal to one or more of the five senses in order to create word pictures or images for the reader. So, as I read these lines, I see that the author is zooming in using sensory language to show me how the setting sounds and feels. I am going to bracket these lines. I also see that the setting, “December” is tied to the memory of “the first time” the speaker “walked/With a girl,” (lines 1- 2). I can now imagine how anxious or excited the speaker is feeling about going to see a girl that he likes. I am going to bracket these lines as well. Last, I need to zoom back out and ask myself, what do the lines or sentences reveal about the plot or setting? In the first bracketed set of lines 1-2, I see that the speaker is sharing a memory about going to visit a girl he likes. Because I know that he liked the girl, this is probably a happy memory, one that makes him smile as he tells the story. So, next to lines 1-2 in my margin, I am going to write “fond, warm memory.” In the second bracketed set of lines 5-7, I see that the author has included sensory language such as, “Frost cracking/Beneath my steps” (lines 4-5) and the sight of “. . .my breath/before me, then gone” that describe how cold and bitter the weather is outside. In my margin I am going to write cold and bitter weather. I now ask myself, how do the details in the lines that I bracketed contribute or add to my understanding of the development of the setting or plot. To do this, I look at the bracketed lines and make connections between the details in them. When I analyze or look closely at these two marginal notes side-by-side, I see that the speaker is “sharing a fond, warm memory” and “the winter day is cold and bitter.” So, I’m going to reference my Charting Verbs (Modified) to determine the verb that best describes what the author is doing. Okay. So, I’m choosing juxtaposing because Soto is placing the ideas side-by-side for the purpose of comparison. When I put these ideas together, I see that the author is juxtaposing the cold bitter weather outside to the fond, warm memory the speaker seems to be feeling inside. GUIDED PRACTICE CONT': Teacher Note: Students will participate in a shared reading of lines 21-42 of “Oranges” so that students hear modeled fluency and so that they are zooming out and zooming in with scaffolded supports. The teacher should refer to slides 3 and 4 of the RL5 PowerPoint. Transition to Work Period: 5 minutes Issue students the Zoom Out and Zoom In Graphic Organizer. Have students highlight words and phrases from lines 21-42. Inform students that you will read the lines that are not highlighted and that they will read the highlighted lines: “narrow isle of goods,” “ask what she wanted,” “a smile,” “mouth,” “when she lifted a chocolate,” “set them quietly on/the counter,” “The lady's eyes met mine,/ And held them, knowing / Very well what it was all/About.” Time: 20 minutes Now, we’re going to read lines 21-42 together. Highlight the following words and phrases… Refer students to the board. Have the above-mentioned words, phrases, and lines projected for students. Give students 2 minutes to highlight the words, phrases, and lines from lines 21- 42. I’m going to read aloud the words and phrases that are not highlighted, and you will read aloud in unison the highlighted words and phrases. Beginning at the word “We” in line 21, read the poem as a class. Now that we have read the poem, I want you to use the Zoom Out and Zoom In Strategy. First, we Zoom Out and answer the question, “What is the setting or plot of the chapter, scene, or stanza?” Remember, by setting, we mean time as in time of day or hour, season, and/or place/location. Second, we Zoom In on the details that precede and follow the setting or plot. I am bracketing details that describe the setting or plot. Third, Zoom Out again and ask, “What do these details reveal about the setting? What do these details reveal about the plot?” and “How do these details contribute to the development of the setting or plot? Okay, let’s use the strategy together. This time let’s look at plot. Let’s zoom out: What is the major plot element in these lines? Turn and talk with your elbow partner for 1 minute and identify the major plot element (crises, turning point). Hint, you may want to refer to your AVID Story Arc from the opening of today’s lesson. Circle the room listening to student conversation. Have a pair who has identified the turning point to share out the major plot element in lines 21-42. Possible Response: “When I looked up,/ The lady's eyes met mine,/ And held them, knowing/ Very well what it was all About” (lines 38-42). Great. The turning point occurs when he attempts to purchase a piece of candy that he knows he does not have enough money to buy. The problem escalates here as the speaker places a nickel and an orange on the counter as payment for the chocolate candy, hoping that the salesclerk accepts the orange in exchange for the additional nickel he owes. Stop here if you have a 50-minute block/period. Tues.12/10, I can construct and ending for a narrative using relevant details or dialogue.12/7/2019 DO NOW:
“Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some onegently rapping, rapping at my chamber door.…” (The Raven by Edgar Allan Poe) What is the literary theme of the passage? A. Fear is an unsettling but powerful emotion. B. Revenge is always an option. C. Always lock your doors. D. The boogie man is alive and well. MODELED INSTRUCTION: TW: review writing a narrative using an informational text TW: Will review elements of middle and end and show students what they should consider: Does the writer use specific techniques to effectively create an event sequence that unfolds naturally? (Middle) Dialogue, Description, Transition, word choice, sentence variety Conclusion: Does the writer use specific techniques to effectively conclude the narrative? Keep in mind voice, setting, tone, and mood. Scene, series, surprise, Logical ending GUIDED PRACTICE: TW: model how to mark their completed narrative like they did the day before on the sample writing.SW: Underline parts in their narrative story that come directly from the passage. • Put boxes around the examples of dialogue. • Circle examples of descriptive language in the introduction completed the day before TW: clear up any misconceptions INDEPENDENT PRACTICE: SW: continue to work on their middle and conclusion of their narrativeSW: share with a partner. EXIT TICKET: SW: provide a completed narrative piece of writing DO NOW:
Read Ch. 10 of The Lightning Thief of Rick Riordan. -Class Craft - Video on Dialogue - Book Report Activities “Stuff your eyes with wonder, he said, live as if you’d drop dead in ten seconds. See the world. It’s more fantastic than any dream made or paid for in factories.” (Fahrenheit 451 by Ray Bradbury) What is the literary theme of the passage? A. Travel is a worthy pursuit. B. Live every day to the fullest. C. The quest for power is a wasted desire. D. Youth and beauty are fleeting. MODELED INSTRUCTION: TW: Read the Narrative ECR prompt to students. TW: Tell students that you will show them how to respond to the Narrative ECR. Before you respond to this task, tell students that you are going to circle the words that summarize the task; then underline things that should be included. Students should follow along to circle and underline along with you. TW: show students how you can quickly skim back through the passage looking for facts, definitions, details, examples, quotations, and other information that you may want to use as you write your own original story. As you skim through the articles, think aloud as you underline words and phrases you may want to include in your story. Have students underline along with you. TW: finish reading and underlining, explain how you completed the simple plan sheet (included). Remember to share your thinking used throughout the whole process. TW:Keep referring to the words and phrases you underline as you include them in your story. Be sure to emphasize how you are adding in story elements so that your final product looks and sounds like a story instead of a report or informational essay. SW: mark the narrative as you go through the beginning, middle, and end. TW: help students see the connections you are making between the articles and story elements in order to write your fictional story. Students should follow along to circle, box, and underline along with you. GUIDED PRACTICE: TW: ask students to do what you just did using a different writing prompt with the same informational text. Display the following Narrative ECR prompt: write an original story, with dialogue, from the point of view of an experienced rock climber who is climbing with a friend. TW: have students make a plan for their stories using the Student Practice sheet. INDEPENDENT PRACTICE: After plans are completed, students should begin drafting their stories.SW: work on their intro duction of their narrative EXIT TICKET: SW: provide a completed writing plan and introduction Climbing My Fears
Ellen’s older brother dropped us off at the new rock-climbing attraction in our town. Rock climbing has always been popular here since we are surrounded by mountains; however, Ellen and I are amateurs. While I didn’t know much about the sport, I did know we signed up for sport climbing—a safer and cheaper option. This was appealing since we were broke, but I had a concern: I was secretly afraid of heights. My body became frozen while standing on a high diving board two summers ago; I needed to be rescued by the life guard. Only my third cousin on my dad’s side knows about the incident, and I’ve done a terrific job keeping it that way. Ellen and I have been friends since we were in kindergarten. Much taller than me—perhaps that’s why she has no problem with heights. “This is going to be SO cool,” she said as she climbed out of the midnight blue Volvo. “I sure hope so,” I muttered under my breath. “Thanks for the ride! Bye, Dan!” we sang in chorus as we skipped away from the car. Our guide, Bill, greeted us as we approached what looked like a surf shack. “Welcome, ladies! Are you ready for some fresh air and sweet views?” His smile stretched across his tanned face. “We sure are,” said Ellen as she slammed her driver’s license down on the counter. After we signed a bunch of paperwork that basically let Bill off the hook if something tragic should happen—e.g., one of us plummets off the cliff— Bill led us to the cliff for beginner climbers. “Maybe we should check my harness and climbing rope one more time,” I wondered out loud. I could barely feel the rope with the thick gloves we had to wear. Bill pointed to a bright teal flag, marking the summit. Ellen took the lead, and we started climbing, following the path of the metal loops. I didn’t realize how high I was until I reached around 12 feet. My palms were sweating, and my body froze—AGAIN! I squeezed my eyes shut and took loud, deep breaths. Bill encouraged me from below to find the last ridge I stepped on, but I couldn’t budge. I needed the life guard to save me again—to carry my down which I knew wasn’t an option. Steam began to escape the top of my shirt and sweat droplets formed on my forehead. “Nothing can happen to you. I’m right here to catch you,” Bill coached as he was climbing up to the ledge a few feet beneath me. “See, I’m right here. Just step here, and I’ll take you back down.” His voice and presence were a relief. I dangled my foot below, Bill assuring my safety with each shaky step. With eyes closed the entire descent, I finally touched ground. Just as I unhooked my rope, Ellen began singing “Woo Hoo!” while waving the teal flag. She made it! I didn’t, and that was A-OKAY. Next time, I’ll make sure we keep our adventures closer to the ground. DO NOW:
GRADE RECOVERY [CFA] or BOOK CHECKOUT FOR BOOK PROJECT MODELED INSTRUCTION: Break Down Writing Prompt at the bottom of worksheet. Circle the important words that convey what you are expected to do. Guided Practice: Annotate Rock Climbing informational text. -Box examples of dialogue Independent Practice: Write an original narrative. EXIT TICKET: GRADE RECOVERY [CFA] or BOOK CHECKOUT FOR BOOK PROJECT |
Archives
September 2020
Mr. Marc
Hello World! I am from South Florida. I graduated from Florida State University with my Bachelor's Degree, and Kennesaw State University with my Master's Degree. Categories |