Year 10–11 / Grades 9–10
Of Mice and Men — a five-lesson scheme of work
This sequence starts by placing students in the context of Steinbeck's California during the 1930s, then guides them through a close reading of all three sections. In Lesson 1, students explore the dynamic between George and Lennie and their dream through the opening at the riverbank. Lesson 2 focuses on power and hierarchy within the bunkhouse. Lesson 3 looks at themes of loneliness as seen through Crooks and Candy in Section 3. Lesson 4 follows the disintegration of the dream during key moments of crisis in the novella. Finally, Lesson 5 prepares students for the summative essay. By the end, they will be able to craft an analytical paragraph supported by evidence on any of the eight themes, choosing and interpreting language accurately.
Objectives
- Analyse how Steinbeck uses language and form in specific passages to present the George–Lennie relationship.
- Analyse how Steinbeck constructs a hierarchy of power on the ranch through character, dialogue and stage-direction-style description.
- Explain how loneliness is presented through the characterisation of Crooks and Candy, using close reference to Section 3.
- Evaluate how the motif of the dream functions across all three sections as both hope and dramatic irony.
- Write a fully evidenced analytical paragraph that embeds quotation, names technique and links to context and theme.
- Compare how two or more characters are used to explore a single theme across the novella.
The sequence
Lesson 1: The Dream Begins: George, Lennie and the Riverbank (Section 1)
60 min · ch. 1- Do now
Examine the names 'Small' and 'Milton'. Write two sentences about what these surnames imply regarding each man, based on your existing knowledge of the word 'small' and the poet John Milton, before you read the story.
- Teacher input
Model a close reading of the passage in Section 1 where George recites the dream: 'Guys like us, that work on ranches, are the loneliest guys in the world… But not us.' Read it aloud, then annotate on the visualizer: note the repetition of 'We got' as a source of ritual and comfort, the transition from the third-person 'guys' to the first-person 'us' as George pulls Lennie into the conversation, and how Lennie's question — 'Tell me about the rabbits, George' — frames the dream as a shared performance that both men need, rather than just Lennie. Connect this to the play-novelette format: Steinbeck presents it as a script cue, rather than as an interior monologue.
- Independent task
Students should revisit the first two pages of Section 1, starting from 'A few miles south of Soledad' up to the point where George instructs Lennie to hide in the brush if anything goes wrong. They need to compose one PEEL paragraph addressing the question: How does Steinbeck portray the relationship between George and Lennie in the opening of Section 1? Their response must include at least two quotations, identify one technique for each quote, and conclude with a connection to the themes of friendship or loneliness.
- Exit ticket
The instruction George gives Lennie about the brush reflects their protective relationship, as George acts as a caregiver. Use the word "care" to support your answer.
Lesson 2: Who Holds the Power? The Bunkhouse Hierarchy (Section 2)
60 min · ch. 2- Do now
Rank these five characters from most to least powerful: The Boss (Authoritative), Curley (Aggressive), Slim (Respected), George (Cunning), Candy (Vulnerable). You have four minutes — no talking.
- Teacher input
Model the entrance of The Boss in Section 2: 'He wore blue jeans, a flannel shirt, a black vest that was unbuttoned, and a black coat. His thumbs were hooked in his belt.' Annotate on the visualizer: the detailed costume as a visual signal of power (he is the only character dressed in layers), the thumbs in the belt as a sign of ownership, and the contrast with Candy's apologetic introduction of George and Lennie. Highlight how Steinbeck's stage-direction style—drawn from the play-novelette tradition—gives the costume a voice, conveying what the dialogue does not express.
- Independent task
Students will re-read Section 2, from Curley’s initial entrance to the moment he exits the bunkhouse after assessing Lennie. They will annotate this passage for power dynamics: circling any word that indicates dominance, underlining any word that suggests submission, and drawing arrows between characters to illustrate where power shifts occur. Next, they will write a paragraph addressing the question: How does Steinbeck portray Curley as a threat in Section 2? They must accurately incorporate the terms 'juxtaposition' or 'contrast' and include a quote from Slim's reaction as a second piece of evidence.
- Exit ticket
Slim holds more power than The Boss on the ranch because, as noted in Section 2, he commands the respect of the other workers, which allows him to influence decisions and actions more effectively.
Lesson 3: The Loneliest Men in the World: Crooks and Candy (Section 3)
60 min · ch. 3- Do now
Read this sentence from Section 3: 'Crooks had his apple box over his bunk, and in it a range of medicine bottles, both for himself and for the horses.' Write two observations: what does this detail reveal about Crooks's status on the ranch? What does it indicate about how he deals with that status?
- Teacher input
Model a close reading of Crooks's speech to Lennie in Section 3: 'S'pose you didn't have nobody. S'pose you couldn't go into the bunk house and play rummy 'cause you was black… A guy needs somebody — to be near him.' Annotate on the visualiser: the repetition of 'S'pose' serves as a rhetorical trap that compels Lennie — and the reader — to experience Crooks's isolation; the use of the conditional mood throughout indicates a man who has learned to avoid stating things as absolute truths; the placement of the word 'black' in the middle of the sentence, rather than at the end, prevents it from being used as a punchline. Connect this to the 1930s context of Jim Crow laws in California.
- Independent task
Students read the scene in Section 3 where Candy enters Crooks's room, and the three men briefly share their dream of owning a farm. They write two paragraphs: one discussing how Steinbeck conveys Crooks's loneliness through his use of language, and another examining how Candy's loneliness is expressed differently through his financial investment instead of words. Each paragraph should include an embedded quotation and a contextual sentence relating to the Great Depression or racial segregation.
- Exit ticket
Crooks says, "I didn't mean it. Jus' foolin'," and pulls back from the dream when Curley’s wife shows up because he feels threatened by her presence. This moment highlights his vulnerability and the harsh reality of his isolation, as he realizes that the dream of companionship and freedom is unattainable for him. The fear of oppression silences his hopes, revealing the deep-seated racism and sexism in their world.
Lesson 4: The Dream Dies: Foreshadowing, Carlson's Gun and the Final Scene
60 min · ch. 1, 2, 3- Do now
- Death of the Old Man - Caused by Character A
- Near-death of the Child - Caused by Character B
- Death of the Lover - Caused by Character C
- Near-death of the Protagonist - Caused by Character D
- Death of the Rival - Caused by Character E
- Near-death of the Mentor - Caused by Character F
- Death of the Guardian - Caused by Character G
- Near-death of the Friend - Caused by Character H
- Teacher input
Model the structural parallel between Candy's dog and Lennie by placing two passages side by side on the board: Carlson's argument for shooting the dog in Section 3 ('He's all stiff with rheumatism… He ain't no good to himself') and George's final words to Lennie at the riverbank ('Ever'body gonna be nice to you. Ain't gonna be no more trouble'). Annotate how Steinbeck employs nearly identical reasoning — mercy, uselessness, the gun to the back of the head — to evoke a sense of inevitability about the ending. Highlight how Carlson's closing line, 'Now what the hell ya suppose is eatin' them two guys?', reflects Steinbeck's darkest irony: the man who orchestrated the killing fails to grasp its true significance.
- Independent task
Students will write a structured response (three paragraphs, no more) to the question: How does Steinbeck use the shooting of Candy's dog in Section 3 to set the stage for the novella's ending?
- Paragraph 1: Discuss the dog scene itself.
- Paragraph 2: Explore the parallel in the final scene.
- Paragraph 3: Analyze what Carlson's final line reveals about the novella's perspective on human cruelty.
Each paragraph should begin with a topic sentence that identifies a specific technique.
- Exit ticket
Write the technique Steinbeck employs in both shootings and identify one word from each scene that demonstrates the parallel is intentional.
Lesson 5: Writing Under Pressure: Constructing the Evidenced Essay
60 min · ch. 1, 2, 3- Do now
You have three minutes: craft a one-sentence thesis that answers this question — 'In what ways does Steinbeck depict loneliness in Of Mice and Men?' Your sentence should mention at least two characters and one technique. Avoid using the word 'shows'.
- Teacher input
Model the construction of a high-band introduction using the question "How does Steinbeck present the impossibility of the American Dream in Of Mice and Men?" on the visualiser. Write live: start with a contextual statement about the Great Depression and itinerant labour. Next, highlight the structural irony that the dream appears most vividly in Section 1, which is also the furthest point from its eventual destruction. Introduce two key characters who embody this dream, specifically George and Candy. Conclude the introduction with a clear thesis that includes the term "inevitably." As you build this model, narrate each decision you make out loud. Finally, annotate the model for clarity of the thesis, named techniques, embedded context, and ensure there's no retelling of the plot.
- Independent task
Students will compose a complete essay response (four to five paragraphs) to one of the following questions: (A) How does Steinbeck portray loneliness in Of Mice and Men? or (B) How does Steinbeck utilize the dream of the farm to examine the theme of failure? They need to reference at least two characters and at least two specific moments from two of the three sections — not just by chapter number. They will submit a finished essay with quotations underlined and techniques highlighted.
- Exit ticket
After (Humanized): Underline your thesis statement. If you can't find one, go ahead and write it in the margin. Submit both the essay and this ticket.
Changes made:
- Changed "thesis sentence" to "thesis statement" for clarity.
- Used "can't" instead of "cannot" for a more conversational tone.
- Changed "write it now" to "go ahead and write it" for a friendlier feel.
Activities
Surname Semiotics — Milton and Small 10 min · pairs
Students receive a card featuring the surnames 'Milton' and 'Small' along with a brief description: John Milton authored Paradise Lost, an epic exploring the fall from paradise. In pairs, they come up with three inferences: what each name hints about its character, what Steinbeck might be indicating about the dream, and what the combination of the two names suggests. Each pair shares one inference with the class. Students then return the annotated card.
Power Pyramid — Ranking the Ranch 15 min · groups
Groups of three or four get a set of eight character name cards (George, Lennie, The Boss, Curley, Slim, Candy, Crooks, Curley's Wife) along with a blank pyramid template that has five tiers. The groups arrange the cards on the pyramid and write one quotation from Section 2 next to each character to justify their placement. Everyone in the group must agree on each position before writing it down. Once completed, they return the annotated pyramid, which will serve as a resource for revision.
Parallel Passages — The Two Shootings 20 min · pairs
Each pair gets two printed extracts: Carlson convincing the men to allow him to shoot Candy's dog (Section 3) and George's last words to Lennie by the riverbank. Students annotate both extracts for common vocabulary, shared reasoning, and similar setting details, connecting the two columns with lines. They then write two sentences: one identifying the technique Steinbeck uses and another explaining its effect on the reader. Pairs return the dual-annotated sheet.
Crooks's Room — What Objects Tell Us 15 min · individual
Students receive a printed list of every item Steinbeck includes in Crooks's room in Section 3: the apple box, the medicine bottles, the tattered dictionary, the California civil code, and the battered magazines. Working on their own, they write one sentence for each object explaining what it shows about Crooks's character, his intelligence, or his sense of isolation. Next, they select the most impactful object and craft a full analytical sentence that identifies the technique and connects it to the theme of race and power. Finally, they return the completed sheet.
Hot-Seat: Curley's Wife Speaks 20 min · whole class
One student either volunteers or is chosen to take the role of Curley's Wife at the front. The class has one minute to come up with three questions based on evidence from Sections 2 and 3—these questions should be grounded in the text rather than made-up backstories. The student in the hot seat responds while staying in character, and the class notes any answers that either contradict or expand upon the text. After the activity, each student writes a sentence addressing what Steinbeck withholds by not naming Curley's Wife and the impact of that decision. They then submit their written sentence.
Dream or Delusion? — Structured Academic Controversy 25 min · groups
Groups of four divide into two pairs. Pair A argues that the dream is depicted as genuinely achievable, while Pair B contends that it is always shown as doomed. Each pair has three minutes to construct their case using only textual evidence from Sections 1, 2, and 3. Afterward, pairs switch roles and argue the opposing viewpoint for two minutes. The group then writes a joint conclusion sentence that encapsulates the tension Steinbeck creates. Finally, groups return the evidence list along with the joint conclusion sentence.
Assessment
- Exit ticket Lesson 1: student identifies the brush-hiding instruction as evidence of George's protective role — looking for specific word choice from the text, not paraphrase.
- Exit ticket Lesson 2: student explains Slim's authority through earned respect rather than institutional rank — looking for the distinction between formal and social power.
- Annotated dual-column sheet from the Parallel Passages activity: looking for accurate identification of shared lexis ('back of the head', mercy framing) across the two shootings.
- Exit ticket Lesson 3: student explains Crooks's withdrawal using Curley's Wife's threat — looking for understanding of the intersection of race and gender as competing vulnerabilities.
- Paragraph from Lesson 2 independent task: looking for accurate use of 'juxtaposition' applied to Curley's physicality versus Slim's calm, not used as a synonym for 'difference'.
- Exit ticket Lesson 4: student names structural parallelism or foreshadowing and supplies one word from each scene — looking for precision of terminology and genuine textual grounding.
Summative task
Choose one of the following questions and write a complete essay consisting of four to five paragraphs. (A) In what ways does Steinbeck portray loneliness in Of Mice and Men? (B) How does Steinbeck utilize the dream of the farm to delve into the theme of failure? You need to mention at least two characters by name, include direct quotes from at least two of the three sections of the novella, identify the technique you are analyzing in each paragraph, and relate at least one quotation to its context in the 1930s. Avoid retelling the plot. Make sure to underline every quotation before submitting your work.
Marking notes
Top band: The thesis introduces the technique and theme right from the start; quotations are integrated and examined for deeper meaning (for instance, focusing on the conditional mood of 'S'pose' instead of just stating 'Crooks feels lonely'); context is seamlessly integrated rather than added later. Mid band: Quotations are included but explained instead of thoroughly analyzed; context is noted but lacks connection to specific language choices. Lower band: A summary of the plot takes precedence; quotations are inserted without any commentary; labels for techniques are either missing or incorrectly applied (for example, stating 'Steinbeck uses metaphor' without identifying any specific metaphor).
Standards covered
- Common Core 11 12
- RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
- RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g. where a story is set, how the action is ordered, how the characters are introduced and developed).
- RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
- RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
- W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
- AP Literature
- Literary Argumentation (LAN-1) — Explain the function of word choice, imagery, and syntax in a literary text.
- Character (CHR-1) — Analyse how an author's choices about how to develop characters contribute to an interpretation of a text.
- Narration (NAR-1) — Explain the function of point of view and narrative structure in a text.
- Structure (STR-1) — Explain how the sequence or juxtaposition of events, images, or ideas contributes to the meaning of a text.
- Figurative Language (FIG-1) — Explain the function of a specific figure of speech in a text.
- AQA
- AO1 — Read, understand and respond to texts; maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations.
- AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.
- AO3 — Show understanding of the relationships between texts and the contexts in which they were written and received.
- AO4 — Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.
- Edexcel
- AO1 — Develop an informed response to a text; use textual evidence and critical vocabulary to support a sustained argument.
- AO2 — Analyse how writers use language, form and structure to shape meaning, using appropriate subject terminology.
- AO3 — Demonstrate understanding of the significance of cultural, historical and literary contexts relevant to the text.
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