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Six SHSAT Questions

3 English and 3 math

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Question 1 of 6

2024 Test A English, question 46
Passage Excerpt from The Highest Tide

Excerpt from The Highest Tide

by Jim Lynch

The narrator’s summer job is collecting marine specimens in Puget Sound, Washington. In this excerpt, he is looking for specimens in the mudflats before daybreak. Mudflats, or flats, are coastal landforms created when sediment and silt from tides are deposited as the tides recede.

I rounded the oyster beds, to the far side. . . . It was low tide by then, and I saw the water hesitating at its apex, neither leaving nor returning, patiently waiting for the gravitational gears to shift. Dozens of anxious clams started squirting in unison like they did whenever vibrating grains of sand warned them predators were approaching. I stopped and waited with them, to actually see the moment when the tide started returning with its invisible buffet of plankton for the clams, oysters, mussels and other filter feeders. It was right then, ankle deep in the Sound, feet numbing, eyes relaxed, that I saw the nudibranch.1

In all my time on the flats I’d never seen one before. I’d read about them, sure. I’d handled them at aquariums but never in the wild, and I’d never even seen a photo of one this stunning. It was just three inches long but with dozens of fluorescent, orange-tipped hornlike plumes jutting from the back of its see-through body that appeared to be lit from within.

Nudibranchs are often called the butterflies of the sea, but even that understates their dazzle. Almost everything else in the northern Pacific is dressed to blend with pale surroundings. Nudibranchs don’t bother, in part because they taste so lousy they don’t need camouflage to survive. But also, I decided right then, because their beauty is so startling it earns them a free pass, the same way everyday life brakes for peacocks, parade floats. . . .

The dark mudflats loomed like wet, flattened dunes stretching deep into Skookumchuck Bay in front of our house. From a distance, they looked too barren to support sea life. Up close, they still did, unless you knew where to find the hearty clams, worms and tiny creatures that flourish in mud. . . . I’m not sure why I decided to take a look. It was still an hour before sunrise, and I knew exactly what the bars2 looked like in the moonlight, but for some reason, I couldn’t resist.

I heard it long before I saw it. It was an exhale, a release of sorts, and I instantly wondered if a whale was stranded again. We had a young minke3 stuck out there two summers prior, and it made similar noises until the tide rose high enough for rescuers to help free it. . . . I looked for a hulking silhouette but couldn’t find one. I waited, but there were no more sounds. Still, I went toward what I thought I’d heard, avoiding stepping into the mud until I had to. I knew the flats well enough to know I could get stuck just about anywhere. The general rule was you didn’t venture out past the shells and gravel with an incoming tide. I sank up to my knees twice, and numbing water filled my boots.

. . . I kept stepping toward the one sound I’d heard, a growing part of me hoping I’d find nothing at all. When I stopped to rest and yank up my socks, my headlamp crossed it. My first thought? A giant octopus.

Puget Sound has some of the biggest octopi in the world. They often balloon to a hundred pounds. Even the great Jacques Cousteau4 himself came to study them. But when I saw the long tubular shape of its upper body and the tangle of tentacles below it, I knew it was more than an octopus. I came closer, within fifty feet, close enough to see its large cylindrical siphon5 quiver. I couldn’t tell if it was making any sounds at that point, because it was impossible to hear anything over the blood in my ears. . . .

The creature’s body came to a triangular point above narrow fins that lay flat on the mud like wings, but it was hard to be sure exactly where it all began or ended, or how long its tentacles truly were, because I was afraid to pry my eyes off its jumble of arms for more than half a second. I didn’t know whether I was within reach, and its arms were as big around as my ankle and lined with suckers the size of half-dollars. If they even twitched I would have run. So, I was looking at it and not looking at it while my heart spangled my vision. I saw fragments, pieces, and tried to fuse them in my mind but couldn’t be certain of the whole. I knew what it had to be, but I wouldn’t allow myself to even think the two words. Then I gradually realized the dark shiny disc in the middle of the rubbery mass was too perfectly round to be mud or a reflection.

It was too late to smother my scream. Its eye was the size of a hubcap.6

From THE HIGHEST TIDE by Jim Lynch. Copyright © 2005 by Jim Lynch. Used by permission of Bloomsbury USA. All rights reserved.

1nudibranch: type of sea slug

2bars: sandbars

3minke: species of small whale

4Jacques Cousteau: renowned French oceanographer

5siphon: tube-like organ that is used for drawing in or removing fluids

6hubcap: removable cap over the end of a wheel axle

Question

How does the setting affect the plot of the excerpt?

  • AThe darkness of the mudflats before sunrise causes the narrator to pay close attention to his surroundings.
  • BThe rugged terrain of the mudflats makes it more difficult for the narrator to do his job.
  • CThe slow return of the tide along the mudflats forces the narrator to be patient during his journey.
  • DThe barren appearance of the mudflats creates a sense of mystery that unsettles the narrator.
Show the answer

Correct answer: A

The question asks how the setting affects the plot of the excerpt.

A. CORRECT. In paragraph 4, the narrator says that it is an hour before sunrise. It is difficult to see because the mudflats are dark, so the narrator, while familiar with the terrain of the mudflats, is cautious.

B. Incorrect. While the terrain of the mudflats is challenging because of the “wet, flattened dunes” (paragraph 4), the narrator is familiar with the terrain and moves carefully. In addition, the excerpt focuses on the narrator’s curiosity and enjoyment as he explores the mudflats, not on his work collecting specimens.

C. Incorrect. In paragraph 1, the narrator watches the water “hesitating at its apex” and “patiently waiting for the gravitational gears to shift.” This illustrates that the narrator is already familiar with the changes in his surroundings, that the tide is slow to move in, and that he can move carefully through the mudflats without the threat of rising water.

D. Incorrect. While the narrator is on the mudflats for the entire excerpt, the phrase “eyes relaxed” in paragraph 1 indicates that the narrator feels comfortable there. The narrator does not show fear until paragraph 6, when a growing fear about the unknown creature arises.

Question analysis

Set on the mudflats of Puget Sound before daybreak, this excerpt from the novel The Highest Tide is the basis for a question about how setting affects plot. Students must link features of the place and time to what the narrator does across the whole excerpt, and each choice pairs a real feature of the setting with an effect that may or may not be in the text.

NYS standards
  • 7R3 plot elements and ideas
  • 7R1 textual evidence and inferences
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Analyzing how setting shapes plot is a grade 7 literary standard, but the excerpt never states the link: the effect must be inferred from scattered details, and every choice names a genuine feature of the flats, which is beyond typical work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from the whole text
Reading level
Passage: about grade 6, 902 words; question and choices: about grade 8, 77 words.
Corrected from the DOE handbook
  • A statement in the explanation that contradicted the excerpt’s introduction was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Every choice names a real feature of the mudflats, so the question turns on which feature the excerpt actually shows shaping events. The darkness never gets a sentence of its own; it is felt in a sound heard before anything is seen, a silhouette that cannot be found and a headlamp beam. The barren look of the flats is the strongest pull, because the scene is eerie, but the narrator knows life hides in the mud and his unease comes from the creature.

  1. Reading between the lines major Working it out

    The excerpt never says the darkness changes anything; the effect must be assembled from the hour before sunrise, the sound heard “long before I saw it”, the missing silhouette and the headlamp that finally finds the creature. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. The right answer is reworded moderate Choosing the answer

    The right choice uses no words from the text, while the wrong ones echo it: the “barren” look of the flats, the water “patiently waiting”, the narrator's summer job. (Freedle & Kostin, 1993; Kirsch & Mosenthal, 1990)

  3. Evidence in several places moderate Working it out

    The darkness is established in paragraph 4 and felt in paragraphs 5, 6 and 8, so no single passage shows the setting at work. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

Strategy: Collect the details of time, place and conditions across the excerpt, then for each choice ask whether the text shows that feature of the setting actually changing what the narrator does.

Traps

  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: In rejecting choice B, the handbook says “the excerpt shows that the narrator explores the mudflats for curiosity and enjoyment, not work.” But the introduction says the narrator’s summer job is collecting marine specimens and that “in this excerpt, he is looking for specimens in the mudflats before daybreak.” The explanation now says the excerpt focuses on his curiosity and enjoyment as he explores the mudflats, not on his work collecting specimens. That keeps the handbook’s point (the excerpt is not about the terrain making his job harder) without contradicting the introduction.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Know what setting and plot mean

    The setting is where and when a story happens. The plot is the chain of events. This asks which part of the setting changes what happens or what the narrator does.

  2. Find the time of day

    Paragraph 4 says, “It was still an hour before sunrise.” The narrator is out on the mudflats in the dark. The only light comes from the moon and his headlamp.

  3. See how the dark shapes events

    Because it is dark, he must rely on sounds and small clues. He says, “I heard it long before I saw it.” He looks for “a hulking silhouette,” a dark outline, but can’t find one. He spots the creature only when “my headlamp crossed it.” Then he stares hard, trying to make out its shape. The darkness keeps him alert and watching closely.

  4. Check each choice

    • A fits: the dark makes him pay close attention to everything around him.
    • B is wrong because the excerpt follows a strange sound and never shows the ground making his job harder.
    • C is wrong because in paragraph 1 he chooses to stop and watch the tide, and nothing forces him.
    • D is wrong because he knows life hides in the mud, and what scares him is the creature.

    Watch out: D feels right because the scene is eerie. But the flats’ empty look never troubles him.

  5. Choose the answer

    The darkness before sunrise is what keeps the narrator listening and looking so carefully. So the answer is A.

Why this answer and not the closest wrong one

D comes closest, because the dark flats do feel spooky. But the narrator says they only look “too barren to support sea life” from far away, and he knows better. His fear comes from the creature. The darkness, though, shapes every step: he hears before he sees and must watch closely.

More questions like this

The original DOE question
Question 46 as printed on page 66 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 66, question 46. Open page 66 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.
The passage “Excerpt from The Highest Tide” as printed (pages 64–65)The passage “Excerpt from The Highest Tide” as printed on page 64 of the DOE handbook.The passage “Excerpt from The Highest Tide” as printed on page 65 of the DOE handbook.

Question 2 of 6

2024 Test A English, question 23
Passage At Dusk

At Dusk

by Natasha Trethewey

At first I think she is calling a child,
my neighbor, leaning through her doorway
at dusk, street lamps just starting to hum
the backdrop of evening. Then I hear
the high-pitched wheedling1 we send out
to animals who know only sound, not
the meanings of our words—here here—
nor how they sometimes fall short.
In another yard, beyond my neighbor’s
sight, the cat lifts her ears, turns first
toward the voice, then back
to the constellation of fireflies flickering
near her head. It’s as if she can’t decide
whether to leap over the low hedge,
the neat row of flowers, and bound
onto the porch, into the steady circle
of light, or stay where she is: luminous
possibility—all that would keep her
away from home—flitting before her.
I listen as my neighbor’s voice trails off.
She’s given up calling for now, left me
to imagine her inside the house waiting,
perhaps in a chair in front of the TV,
or walking around, doing small tasks;
left me to wonder that I too might lift
my voice, sure of someone out there,
send it over the lines stitching here
to there, certain the sounds I make
are enough to call someone home.

“At Dusk” from NATIVE GUARD by Natasha Trethewey, published by Houghton Mifflin Company. Copyright © 2006 by Natasha Trethewey. All rights reserved.

1wheedling: speaking in a flattering manner

Question

Read lines 11–13 from the poem.

toward the voice, then back
to the constellation of fireflies flickering
near her head

Which idea from the poem does the imagery in these lines help convey?

  • AThe cat lacks a preference for going in or staying out.
  • BThe cat is eager to see what will happen next.
  • CThe cat wants to understand the unpredictable behavior of the fireflies.
  • DThe cat is fascinated by the natural world and finds the indoors unremarkable.
Show the answer

Correct answer: D

The question asks which idea the imagery in lines 11–13 helps convey.

A. Incorrect. Line 13 includes the speaker’s observation that the cat seems “as if she can’t decide” whether to stay outside or go to the neighbor. However, the imagery of the “constellation of fireflies flickering” in line 12 suggests that the cat does have a preference for exploring the more exciting “luminous / possibility” (lines 17–18) of the outdoors.

B. Incorrect. The imagery in lines 10–11 of the cat turning “first / toward the voice, then back” might seem to suggest that the cat is eagerly watching both the neighbor and the fireflies to see what will happen next. However, line 13, in which the cat seems “as if she can’t decide,” indicates that what will happen next is actually under the cat’s control.

C. Incorrect. The imagery in lines 12–13 of the “fireflies flickering / near her head” does indicate the fireflies’ unpredictable behavior. However, the imagery in lines 10–11 of the cat turning “first / toward the voice, then back” establishes that the cat’s attention is split between the fireflies and the “high-pitched wheedling” (line 5) of the neighbor’s voice, rather than being fully captured by wanting to understand the fireflies.

D. CORRECT. The imagery in line 12 of “the constellation of fireflies flickering” suggests that the outdoors holds fascinating attractions, an idea supported by the description in lines 17–18 of the cat’s current location outdoors as one filled with “luminous / possibility.” The imagery in lines 10–11 of the cat turning “first / toward the voice, then back” indicates that the cat has considered but rejected the option of returning indoors, and the description in lines 16–17 of the indoors as offering only a “steady circle / of light” suggests that the indoors seems unremarkable to the cat in comparison to the outdoors.

Question analysis

This reading question quotes three lines from At Dusk in which a cat turns from a calling voice back to fireflies flickering near her head, and asks which idea the imagery helps convey. Students must interpret a visual image in light of the lines around it and judge how far the poem supports each reading of the cat's attention.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students explain what imagery conveys, but this image is brief and the four ideas offered for it differ in subtle ways, so ruling them out takes closer reading than typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 236 words (a poem; reading level not measured); question and choices: about grade 6, 77 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The answer is the best available rather than a perfect one: its first half is plain in the image of the cat turning back to the fireflies, while its second half rests on the comparison with a steady porch light. Meanwhile the very next words say she “can't decide,” which makes indifference look like the safe reading. The question rewards seeing that being torn is not the same as having no preference, since the image shows which way she turns.

  1. Reading between the lines major Working it out

    The quoted lines never mention the indoors, so the claim that the cat finds it unremarkable has to be drawn from the contrast with “the steady circle / of light” in lines 16–17. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Figurative or literary language moderate Understanding the question

    “The constellation of fireflies flickering” turns insects into a field of stars beside the cat's head, and that image of wonder is what students are asked to interpret. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Evidence in several places minor Working it out

    The words right after the quotation say “It's as if she can't decide,” and the evidence that tips the balance sits in lines 16–19, outside the three lines quoted. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

Strategy: Picture the cat's movements in these three lines, then test each choice against the words of lines 10–19 and drop any idea the image does not actually show.

Traps

  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Word match: Repeats striking words or phrases from the text, so it looks supported, but its meaning does not fit the question.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    Imagery is language that helps you see, hear or feel a scene. You need the idea that the images in lines 11–13 help show.

  2. Picture lines 10–13

    The cat “turns first / toward the voice, then back / to the constellation of fireflies flickering / near her head.” A constellation is a group of stars that forms a picture. So the fireflies are like little stars blinking around her. She hears the call, but she turns back to them.

  3. Compare outdoors and indoors

    Outside, the night sparkles like stars. Lines 17–18 call it “luminous / possibility,” full of glowing chances. Home is “the steady circle / of light” on the porch (lines 16–17). Steady means it does not change. Next to the flickering stars, that light is plain. Unremarkable means not special.

  4. Check each choice

    • A is wrong. The cat “can’t decide,” but that means she feels two pulls. The image shows her turning back to the fireflies.
    • B is wrong. She is not waiting for something to happen. Her attention is split between two pulls.
    • C is wrong. She is drawn to the fireflies’ glow, not trying to figure out how they act.
    • D is right. She is fascinated by the night, and the porch light is plain next to it.

    Watch out: A is tempting because of line 13. But being torn is not the same as having no preference.

  5. Choose the answer

    The poem never says the cat has made up her mind. But the images make the night magical and home ordinary. That fits D best. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong answer, since the next words say “It’s as if she can’t decide.” But a cat with no preference would not care either way. This cat turns back to the fireflies, which shows a strong pull. D fits that pull, and the plain “steady circle / of light” shows why home seems less special.

More questions like this

The original DOE question
Question 23 as printed on page 50 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 50, question 23. Open page 50 of the handbook (PDF)
The passage “At Dusk” as printed (page 48)The passage “At Dusk” as printed on page 48 of the DOE handbook.

Question 3 of 6

2024 Test A English, question 11
Passage Excerpt from “Impressions of an Indian Childhood”

Excerpt from “Impressions of an Indian Childhood”

by Zitkala-Sa

Zitkala-Sa (Gertrude Simmons Bonnin) was a Native American writer, musician, teacher, and political activist who was raised on the Yankton Sioux Reservation in South Dakota. In 1900 she published “Impressions of an Indian Childhood” (the term Indian was commonly used at the time to refer to Native American people) to expose readers to what life is like on a reservation.

Soon after breakfast Mother sometimes began her beadwork. On a bright, clear day, she pulled out the wooden pegs that pinned the skirt of our wigwam1 to the ground, and rolled the canvas part way up on its frame of slender poles. Then the cool morning breezes swept freely through our dwelling, now and then wafting the perfume of sweet grasses from newly burnt prairie.

Untying the long tasseled strings that bound a small brown buckskin2 bag, my mother spread upon a mat beside her bunches of colored beads, just as an artist arranges the paints upon his palette. On a lapboard she smoothed out a double sheet of soft white buckskin; and drawing from a beaded case that hung on the left of her wide belt a long, narrow blade, she trimmed the buckskin into shape. Often she worked upon small moccasins for her small daughter. Then I became intensely interested in her designing. With a proud, beaming face, I watched her work. In [my] imagination, I saw myself walking in a new pair of snugly fitting moccasins. I felt the envious eyes of my playmates upon the pretty red beads decorating my feet.

Close beside my mother I sat on a rug, with a scrap of buckskin in one hand and an awl in the other. This was the beginning of my practical observation lessons in the art of beadwork. From a skein3 of finely twisted threads of silvery sinews my mother pulled out a single one. With an awl she pierced the buckskin, and skillfully threaded it with the white sinew. Picking up the tiny beads one by one, she strung them with the point of her thread, always twisting it carefully after every stitch.

It took many trials before I learned how to knot my sinew thread on the point of my finger, as I saw her do. Then the next difficulty was in keeping my thread stiffly twisted, so that I could easily string my beads upon it. My mother required of me original designs for my lessons in beading. At first I frequently ensnared many a sunny hour into working a long design. Soon I learned from self-inflicted punishment to refrain from drawing complex patterns, for I had to finish whatever I began.

After some experience I usually drew easy and simple crosses and squares. These were some of the set forms. My original designs were not always symmetrical nor sufficiently characteristic, two faults with which my mother had little patience. The quietness of her oversight made me feel strongly responsible and dependent upon my own judgment. She treated me as a dignified little individual as long as I was on my good behavior; and how humiliated I was when some boldness of mine drew forth a rebuke from her!

In the choice of colors she left me to my own taste. I was pleased with an outline of yellow upon a background of dark blue, or a combination of red and myrtle-green. There was another of red with a bluish-gray that was more conventionally used. When I became a little familiar with designing and the various pleasing combinations of color, a harder lesson was given me. It was the sewing on, instead of beads, some tinted porcupine quills, moistened and flattened between the nails of the thumb and forefinger. My mother cut off the prickly ends and burned them at once in the centre fire. These sharp points were poisonous, and worked into the flesh wherever they lodged. For this reason, my mother said, I should not do much alone in quills until I was as tall as my cousin Warca-Ziwin.

Always after these confining lessons I was wild with surplus spirits, and found joyous relief in running loose in the open again. Many a summer afternoon a party of four or five of my playmates roamed over the hills with me. We each carried a light sharpened rod about four feet long, with which we pried up certain sweet roots. When we had eaten all the choice roots we chanced upon, we shouldered our rods and strayed off into patches of a stalky plant under whose yellow blossoms we found little crystal drops of gum. Drop by drop we gathered this nature’s rock-candy, until each of us could boast of a lump the size of a small bird’s egg. Soon satiated with its woody flavor, we tossed away our gum, to return again to the sweet roots.

From “Impressions of an Indian Childhood” by Zitkala-Sa—Public Domain

A BRIEF HISTORY OF BEADWORK IN SOUTH DAKOTA

DateEvent
1500sThe Dakota use beads made from bones, shells, stones, and animal teeth. European traders bring glass beads to North America.
Late 1600sThe Dakota begin trading with the French in Minnesota.
1830sThe Dakota begin using glass beads in clothing, artwork, and decorations in place of Native-made beads.
1862–1865The Dakota are expelled from their homelands in Minnesota as a result of the U.S.-Dakota War.
1900s–1920sThe Dakota create items to sell outside their community.

Source: MNopedia

1wigwam: hut with an arched framework of poles covered with bark, mats, or animal hides

2buckskin: leather made from the skin of a male deer

3skein: coiled length of yarn or other thread loosely wound on a reel

Question

The author’s use of sequence in paragraphs 1 and 2 contributes to the development of ideas in the excerpt by

  • Alisting the many steps that are involved in the process of beading in order to explain its difficulty and complexity.
  • Bconveying the importance of following the steps of the beading process in a precise order to work most efficiently.
  • Cemphasizing the time required to fully prepare for and execute the many large and small tasks in the activity of beading.
  • Ddetailing each step in preparation for beading in order to highlight the author’s enthusiasm for the work.
Show the answer

Correct answer: D

The question asks how the author’s use of sequence in paragraphs 1 and 2 contributes to the development of ideas in the excerpt.

A. Incorrect. In paragraph 2, the author does list the steps her mother takes in preparation to do beadwork, such as “untying the long tasseled strings” of the bag of beads, spreading the beads beside her on a mat, and using “a long, narrow blade” to trim the buckskin into shape. However, the language used to describe this sequence does not indicate that preparing to work with beads is difficult or complex.

B. Incorrect. Although the author’s description of untying the bag of beads, spreading the beads upon a mat, smoothing out a sheet of buckskin, and trimming the buckskin into shape in paragraph 2 indicates that the mother follows a certain routine, it does not place any emphasis on working most efficiently by following the steps of the beading process in a precise order.

C. Incorrect. In paragraph 2, the author describes her mother “untying the long tasseled strings that bound a small brown buckskin bag,” “spread[ing] upon a mat beside her bunches of colored beads,” “smooth[ing] out a double sheet of soft white buckskin; and drawing from a beaded case that hung on the left of her wide belt a long, narrow blade” to trim the buckskin. Although these descriptions do outline the steps in her process for creating beadwork, they do not emphasize the time required to do so, since the author does not mention in the excerpt how long it took her mother to fully prepare for and complete the large and small tasks in the activity of beading.

D. CORRECT. In paragraph 1, the author describes how the morning begins with her mother rolling up the canvas of the wigwam and allowing the breeze to come in. In paragraph 2, the author uses sensory language and precise sequencing to describe the way her mother prepares the beading materials by untying “the long tasseled strings that bound a small brown buckskin bag,” spreading the “bunches of colored beads” beside her, and smoothing out “a double sheet of soft white buckskin.” This combination of sequence and sensory language highlights the author’s enthusiasm for beadwork by emphasizing that the author pays close attention to her mother’s preparations.

Question analysis

This reading question asks how the step-by-step description of a mother preparing her beadwork, in the opening paragraphs of Zitkala-Sa's memoir, contributes to the excerpt's ideas. Every choice agrees that steps are listed, so students must judge which purpose the text actually supports and resist reasons that only sound likely for a craft.

NYS standards
  • 7R5 structure and genre features
  • 7R3 plot elements and ideas
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 structure questions usually ask what a paragraph adds to a topic. This one asks what an ordered description achieves, in dense 1900 prose where the purpose is never stated outright, which goes beyond typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 8, 946 words; question and choices: about grade 11, 95 words.
Corrected from the DOE handbook
  • A misquotation of the excerpt in the explanation was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

All four choices agree that the paragraphs lay out steps, so the question turns entirely on purpose, and three of the purposes sound like natural reasons to describe a craft. Nothing in paragraphs 1 and 2 calls the work hard, slow or a matter of efficiency; what they do show is a child following every move and becoming intensely interested. Students who look for the narrator's own reaction find the purpose, while those who reason from the steps alone drift to difficulty or time.

  1. How, not what major Working it out

    The stem asks what the ordered account of untying the bag, spreading the beads, and smoothing and trimming the buckskin does for the excerpt, a purpose the author never states. (Anderson & Krathwohl, 2001)

  2. A very close wrong answer moderate Choosing the answer

    The difficulty choice shares the right one's frame, steps laid out in order to show something, and differs only in what they show: how hard beading is, or how eagerly the girl watched. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Reading between the lines moderate Working it out

    The enthusiasm has to be pieced together from the close attention to each step and from “intensely interested” and “a proud, beaming face” in paragraph 2. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  4. Complex sentences minor Understanding the question

    Paragraph 2 uses literary word order, as in “my mother spread upon a mat beside her bunches of colored beads,” which slows the reading of the very steps in question. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: For each choice, look in paragraphs 1 and 2 for words that would prove its purpose; a purpose that no sentence states or shows can be ruled out.

Traps

  • Half right: One half of a two-part choice is right and the other is not.
  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: In rejecting choice C, the handbook quotes paragraph 2 as “spread[ing them] upon a mat beside her bunches of colored beads.” In the excerpt, the bunches of colored beads are what the mother spreads (“my mother spread upon a mat beside her bunches of colored beads”). The inserted “them” refers to nothing and turns the beads into a place. The quotation now reads “spread[ing] upon a mat beside her bunches of colored beads,” which is how the handbook itself reads the sentence in its reason for rejecting choice A (“spreading the beads beside her on a mat”).

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    Sequence means the order in which things happen. Paragraphs 1 and 2 tell the steps of a morning in order. The question asks why the author tells them step by step. What does that careful order help show?

  2. List the steps

    In paragraphs 1 and 2, the mother:

    1. rolls up the side of the wigwam to let in the breeze,
    2. unties a bag made of buckskin (soft deer leather),
    3. spreads her beads on a mat,
    4. smooths out a sheet of buckskin, and
    5. trims it into shape with a blade.

  3. Find the author’s reaction

    Right after the steps, the author tells how she felt. “Then I became intensely interested in her designing. With a proud, beaming face, I watched her work.” Intensely means very strongly. A beaming face has a big, happy smile. She noticed every little step because she was so excited. The details show her enthusiasm, or eager interest.

  4. Check each choice

    • A is wrong. The steps are listed, but nothing says beading is hard or complex.
    • B is wrong. Nothing says the steps must go in a set order to save effort.
    • C is wrong. Paragraphs 1 and 2 never say how long anything takes.
    • D is right. The careful details show how closely the girl watched, with eager interest.

    Watch out: A is tempting because there are many steps. But many steps don’t prove a task is hard. The author never calls it difficult.

  5. Choose the answer

    The step-by-step order shows a child following every move her mother makes. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong answer. Like D, it says the steps are listed to show something. But no word in paragraphs 1 and 2 calls beading hard. The author does say she was “intensely interested” and had “a proud, beaming face.” That shows enthusiasm, so D fits better.

More questions like this

The original DOE question
Question 11 as printed on page 44 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 44, question 11. Open page 44 of the handbook (PDF) This is the DOE’s version, before the corrections listed in the analysis.
The passage “Excerpt from “Impressions of an Indian Childhood”” as printed (pages 42–43)The passage “Excerpt from “Impressions of an Indian Childhood”” as printed on page 42 of the DOE handbook.The passage “Excerpt from “Impressions of an Indian Childhood”” as printed on page 43 of the DOE handbook.

Question 4 of 6

2026 Practice Test B Math, question 31

Question

A pizza shop offers a choice of 3 sizes (small, medium, and large) and 7 different toppings. Different pizzas can be created by changing the size and the choice of toppings. If Cody wants to order a pizza with exactly 2 different toppings, how many different pizzas can he create?

  • A6
  • B21
  • C63
  • D126
Show the answer

Correct answer: C

Figure out how many different topping pairs are possible. Use 1, 2, 3, 4, 5, 6, 7 to represent the toppings, and create a list of possible pairs:

1,2; 1,3; 1,4; 1,5; 1,6; 1,7
2,3; 2,4; 2,5; 2,6; 2,7
3,4; 3,5; 3,6; 3,7
4,5; 4,6; 4,7
5,6; 5,7
6,7

So there are 21 different topping combinations for one pizza.

Since there are 3 pizza sizes, multiply the total number of combinations by 3 to get the total number of different pizzas Cody can create: 3×21=633 \times 21 = 63.

Question analysis

Cody orders a pizza with exactly 2 of 7 toppings in one of 3 sizes, and students count how many different pizzas he could create. It tests counting combinations, where the order of the toppings does not matter, combined with a second choice. The challenge is to count every possible pizza exactly once.

NYS standards
  • 7.SP.8b sample spaces for compound events
Grade level
Grade 7 content, by NYS standard
Compared with grade 7
Above grade 7 In grade 7, compound events are usually ordered pairs, such as a coin with a number cube. Here an unordered pair of toppings is chosen from seven and then matched with three sizes, a combination count beyond typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
What makes it hard
Solution
3 steps
Reading level
Question and choices: about grade 8, 47 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The question packs two counts into one sentence, each with its own trap. Order does not matter among the toppings, while the size multiplies every pair, and students tend to remember one of these and forget the other. Listing pairs systematically, each topping matched only with later ones, keeps the first count honest, and the stem’s “changing the size and the choice of toppings” is the reminder that size counts too.

  1. Combines ideas moderate Working it out

    Two counts are joined: the unordered pairs of toppings from 7, then the 3 sizes each pair can come in, and a mistake in either count changes the total. (Embretson, 1998; Daniel & Embretson, 2010)

  2. Something you must already know minor Working it out

    Students must know that a pizza with mushroom and onion is the same as one with onion and mushroom, so the ordered count 7 × 6 has to be halved. (Anderson & Krathwohl, 2001)

Strategy: Number the toppings 1 to 7, list each pair once by matching every topping only with higher-numbered ones, count the list, then bring in the choice of size.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Worked solution, step by step

Formulas used

The counting principle
total=m×n\text{total} = m \times n
m is the number of ways to make one choice, and n is the number of ways to make a second choice. Every first choice can go with every second choice, so you multiply. Here, every pair of toppings can come in every size.
Pairs when order does not matter
pairs=n×(n−1)2\text{pairs} = \frac{n \times (n - 1)}{2}
n is the number of items to choose from. There are n ways to pick a first item and n − 1 ways to pick a different second one. That counts each pair twice, once in each order. Dividing by 2 counts each pair once.

  1. Sort out the question

    Each of Cody’s pizzas has one size and exactly 2 different toppings. There are 3 sizes and 7 toppings. Pizzas differ by “changing the size and the choice of toppings.” So a small and a large with the same toppings are two different pizzas. You need to count every pizza once.

  2. List the topping pairs

    Order does not matter: onion with peppers is the same pizza as peppers with onion. So number the toppings 1 to 7, and pair each one only with bigger numbers. Then no pair shows up twice.

    ToppingPairs withPairs
    12, 3, 4, 5, 6, 76
    23, 4, 5, 6, 75
    34, 5, 6, 74
    45, 6, 73
    56, 72
    671

    6+5+4+3+2+1=216 + 5 + 4 + 3 + 2 + 1 = 21

    There are 21 different pairs of toppings.

  3. Check the pairs with the formula

    Use the pairs formula with 7 toppings:

    7×62=422=21\frac{7 \times 6}{2} = \frac{42}{2} = 21

    Watch out: 7 × 6 = 42 counts every pair twice, once as 1 then 2 and once as 2 then 1. Keeping 42 leads to 42×3=12642 \times 3 = 126, choice D.

  4. Bring in the sizes

    Each of the 21 topping pairs can come in any of the 3 sizes. Use the counting principle:

    21×3=6321 \times 3 = 63

    Watch out: stopping at 21 leaves out the sizes, which gives choice B. Choice A, 6, multiplies the 3 sizes by the 2 toppings on one pizza. That does not count pizzas.

  5. Give the answer

    There are 21 topping pairs, and each one comes in 3 sizes. Cody can create 63 different pizzas. So the answer is C, 63.

Check your answer

Count one size at a time. A small pizza can have any of the 21 pairs, so there are 21 small pizzas. There are also 21 medium and 21 large ones: 21+21+21=6321 + 21 + 21 = 63. That is more than the 21 pairs but fewer than 126, so it is reasonable.

More questions like this

The original DOE question
Question 31 as shown on the DOE’s digital test, page 103 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B Math, page 103, question 31.

Question 5 of 6

2018 Test A Math, question 21

Question

In a sample of 10 cards, 4 are red and 6 are blue. If 2 cards are selected at random from the sample, one at a time without replacement, what is the probability that both cards are not blue?

  • A215\frac{2}{15}
  • B425\frac{4}{25}
  • C310\frac{3}{10}
  • D13\frac{1}{3}
Show the answer

Correct answer: A

The probability that both cards are not blue is the same as the probability that both cards are red. There are 4 red cards out of the 10, so the probability of the first card being red is

410\frac{4}{10}

Now there are 9 cards left, and 3 of those are red, so the probability of the second card being red is

39\frac{3}{9}

Multiply the two probabilities to find the probability that both cards are red (not blue):

(410)(39)=1290=215\left (\frac{4}{10} \right )\left ( \frac{3}{9} \right )=\frac{12}{90}=\frac{2}{15}

Question analysis

This probability question draws 2 cards, one at a time and without replacement, from 10 cards: 4 red and 6 blue. Students find the chance that neither card drawn is blue. The second draw has one fewer card, and the word not changes which color to count.

NYS standards
  • 7.SP.8a compound event as fraction of outcomes
  • 7.SP.8b sample spaces for compound events
Grade level
Grade 7 content, by NYS standard
Compared with grade 7
Above grade 7 Grade 7 compound probability is usually found with a list or tree of equally likely outcomes. Dependent draws without replacement, plus a negative phrasing to translate, go beyond that typical work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Solution
3 steps
Reading level
Question and choices: about grade 5, 39 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Two ideas stack here: restating not blue as red, and changing the second draw's numbers after a card is removed. Students who know to multiply but forget the removal reach a listed choice, and so do students who compute both blue. Writing the second fraction explicitly as 3 red out of 9 cards, before multiplying, is what separates right from nearly right.

  1. Something you must already know moderate Working it out

    Multiplying the first draw's chance by the second draw's, with the second adjusted for the card already taken, is a rule the test assumes and does not give. (Anderson & Krathwohl, 2001)

  2. A very close wrong answer moderate Choosing the answer

    2/15 and 4/25 are about 0.13 and 0.16, too close to tell apart by estimate; only the second draw's fraction, 3 red of 9 cards rather than 4 of 10, separates them. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Turning words into math minor Understanding the question

    "Both cards are not blue" has to be restated as both cards red, and the bold not also invites computing the chance that both are blue. (Hegarty, Mayer & Monk, 1995; Koedinger & Nathan, 2004)

  4. An answer in an unexpected form minor Choosing the answer

    The product comes out as 12/90, and it has to be reduced to lowest terms before it matches any of the listed fractions. (Enright, Morley & Sheehan, 2002)

Strategy: Restate not blue as red, then multiply the chance of red on the first draw by the chance of red on the second, with one card fewer.

Traps

  • Without replacement: In a second pick there is one fewer item, which changes the probability.
  • Misreads the question: Misses or misreads a condition or a word in the question: "at least", "each", "remaining", "not".

The wrong answers, classified

How the questions are analyzed, and the research behind it

Worked solution, step by step

Formulas used

Probability
P=favorabletotalP = \frac{\text{favorable}}{\text{total}}
P is the probability, the chance that something happens. Favorable is the number of ways to get what you want, here a red card. Total is the number of all possible picks, here all the cards you can pick from. It works when every pick is equally likely.
Two events in a row
P(A and B)=P(A)×P(B after A)P(\text{A and B}) = P(\text{A}) \times P(\text{B after A})
A is the first event and B is the second. P( ) means the probability of what is inside. The chance that both happen is the first chance times the second. For the second chance, count only what is left after the first event.

  1. Sort out the question

    There are 10 cards: 4 red and 6 blue. You pick 2 cards “one at a time without replacement”. That means the first card is not put back. “Both cards are not blue” means both are red, since red is the only other color. You need the probability, or chance, of that.

  2. Find the chance the first card is red

    4 of the 10 cards are red. Each card is equally likely to be picked. Use the probability formula.

    P(red first)=410P(\text{red first}) = \frac{4}{10}

  3. Find the chance the second card is red

    One red card is gone now, and it is not put back. So 9 cards are left, and 3 of them are red.

    P(red second)=39P(\text{red second}) = \frac{3}{9}

    Watch out: using 4/10 again acts as if the card went back. That gives 4/25, choice B.

  4. Multiply the two chances

    Both cards must be red. So multiply the first chance by the second. To multiply fractions, multiply the tops, then multiply the bottoms.

    410×39=4×310×9=1290\frac{4}{10} \times \frac{3}{9} = \frac{4 \times 3}{10 \times 9} = \frac{12}{90}

  5. Simplify the fraction

    None of the choices is 12/90, so simplify it. Divide the top and the bottom by 6, the biggest number that goes into both.

    12÷690÷6=215\frac{12 \div 6}{90 \div 6} = \frac{2}{15}

    Watch out: the chance that both are blue is 610×59=13\frac{6}{10} \times \frac{5}{9} = \frac{1}{3}, choice D. The question says not blue. So the answer is A, 215\frac{2}{15}.

Check your answer

Count the ways. There are 10×9=9010 \times 9 = 90 ways to pick two cards in order. Red then red has 4×3=124 \times 3 = 12 ways. That gives 12/90, or 2/15. The answer is small, which makes sense, because there are fewer red cards than blue ones.

More questions like this

The original DOE question
Question 78 as printed on page 85 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 85, question 78. Open page 85 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 6 of 6

2024 Test B Math, question 44

Question

Which inequality is equivalent to 6x−20<5x−2(5−3x)6x-20<5x-2(5-3x)?

  • Ax<16x<16
  • Bx<52x<\frac{5}{2}
  • Cx<−2x<-2
  • Dx>−2x>-2
Show the answer

Correct answer: D

6x−20<5x−2(5−3x)6x-20<5x-2(5-3x)

Distribute the coefficient −2 on the right-hand side:

6x−20<5x+(−2)(5)+(−2)(−3x)6x-20<5x+(-2)(5)+(-2)(-3x)

6x−20<5x−10+6x6x-20<5x-10+6x

Subtract 6x6x from both sides:

−20<5x−10-20<5x-10

Add 10 to both sides:

−10<5x-10<5x

Divide both sides by 5:

−2<x-2<x

This is equivalent to

x>−2x>-2

Question analysis

Students choose the simplest equivalent form of a linear inequality that has x on both sides and a negative number multiplied into parentheses. It tests distributing, combining like terms and solving inequalities. Sign errors in the distribution, and reading the direction of the final inequality, are where most mistakes happen.

NYS standards
  • 7.EE.4b two-step inequalities
  • 8.EE.7b linear equations with rational coefficients
  • 7.EE.1 linear expressions with rational coefficients
Grade level
Grade 8 content, by NYS standard
Compared with grade 7
Above grade 7 Grade 7 inequalities have the form px + q < r. This one has x on both sides and a negative factor to distribute across a subtraction, steps that belong to grade 8 equation work, so it is harder than typical grade 7 practice.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
What makes it hard
Solution
4 steps
Reading level
Question and choices: about grade 16+, 10 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Every move is standard algebra, but the inequality is built so that small slips change the answer completely. The −2 has to reach both terms in the parentheses, and once the boundary −2 is found its direction still has to be read correctly, since the variable ends up on the right as −2 < x. Rewriting that as x > −2, or substituting x = 0 into the original, catches the trap.

  1. Error-prone arithmetic moderate Working it out

    Distributing −2 over (5 − 3x) gives −10 + 6x, two sign decisions in one move, and the x terms then sit on both sides of the inequality. (Brown & Burton, 1978; Junker & Sijtsma, 2001)

  2. A very close wrong answer moderate Choosing the answer

    x < −2 and x > −2 share the boundary and differ only in direction, which depends on reading −2 < x correctly or flipping the sign when dividing by a negative. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Many steps minor Working it out

    Four moves follow one another, distributing, collecting 5x + 6x, moving the x terms and dividing by 5, and a slip at any of them changes the result. (Daniel & Embretson, 2010; Enright, Morley & Sheehan, 2002)

Strategy: Distribute the −2 to both terms in the parentheses, combine the x terms on the right, then gather the x terms on the side that keeps their coefficient positive.

Traps

  • Order of operations: Working left to right, or distributing a minus sign wrongly, gives a choice.
  • Negatives and direction: Arithmetic with negative numbers, the order of a subtraction, or direction on a number line. (Moving a term across the equals sign without changing its sign is a faulty procedure.)
  • A faulty procedure: A systematic but wrong procedure: adding fractions straight across, applying an exponent to each term of a sum, dropping a sign when moving a term.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Worked solution, step by step

Formulas used

Distributive property
a(b+c)=a×b+a×ca(b + c) = a \times b + a \times c
a is the number outside the parentheses. b and c are the terms inside. Multiply a by each one. A minus sign inside counts as a negative term, so 5 − 3x is 5 + (−3x). A negative times a negative is positive.
Keeping an inequality true
if a<b, then a+c<b+c\text{if } a < b \text{, then } a + c < b + c
a and b are the two sides, and c is any number. Adding or subtracting the same number on both sides keeps the inequality true. Dividing both sides by a positive number also keeps it true. Only multiplying or dividing by a negative number flips the sign.

  1. Sort out the question

    An inequality compares two sides with a sign like <, which means is less than. To solve it, you get x alone on one side.

    You need the short inequality that has the same answers as the long one.

  2. Distribute the −2

    Multiply −2 by both terms inside the parentheses, 5 and −3x.

    −2(5−3x)=(−2)×5+(−2)×(−3x)=−10+6x-2(5 - 3x) = (-2) \times 5 + (-2) \times (-3x) = -10 + 6x

    A negative times a negative is positive, so the second part is +6x. Watch out: If the −2 multiplies only the 5, you end up with x<52x < \frac{5}{2}, choice B.

  3. Combine the x terms

    The right side is now 5x − 10 + 6x. Put the x terms together: 5x + 6x = 11x.

    6x−20<11x−106x - 20 < 11x - 10

  4. Gather the x terms on one side

    Subtract 6x from both sides. That leaves the x terms on the right, where they stay positive.

    6x−20−6x<11x−10−6x6x - 20 - 6x < 11x - 10 - 6x

    −20<5x−10-20 < 5x - 10

  5. Get x by itself

    Add 10 to both sides. Then divide both sides by 5.

    −10<5x-10 < 5x

    −2<x-2 < x

    You divided by a positive 5, so the sign does not flip.

  6. Read it with x first

    −2<x-2 < x says −2 is less than x. That is the same as saying x is greater than −2, just as 3 < 5 means 5 > 3.

    x>−2x > -2

    Watch out: x<−2x < -2, choice C, has the same number but points the wrong way.

    So the answer is D, x>−2x > -2.

Check your answer

Test x = 0, which is greater than −2. The left side is 6(0)−20=−206(0) - 20 = -20. The right side is 5(0)−2(5−0)=−105(0) - 2(5 - 0) = -10. And −20 < −10 is true. Now test x = −3. The left side is −38 and the right side is −43. That is false, as it should be.

More questions like this

The original DOE question
Question 101 as printed on page 211 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 211, question 101. Open page 211 of the handbook (PDF)

Sample #863138