Cambridge Lower Secondary English Teacher's Resource 7 by Cambridge International Education

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Cambridge Lower Secondary

English

TEACHERâ&#x20AC;&#x2122;S RESOURCE 7

Patrick Creamer, Duncan Williams, Helen Rees-Bidder & Graham Elsdon

Second edition

Digital access

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Contents iv

About the authors

How to use this series

How to use this Teacher’s Resource

viii

About the curriculum framework

About the assessment

Introduction

Approaches to teaching and learning

xii

Setting up for success

xvi

Teaching notes Adventure

‘Hey, You Down There’

Film and fame

Small but perfect

Unusual education

Life stories

145

The Travel Agency

171

In the city

196

Dangers of the sea

93 121

222

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1 Adventure Unit plan Approximate number of learning hours

Outline of learning content

Resources

1.1 The start of an adventure

3 hours, 30 minutes

Learners find out about the characters, settings and structure of adventure stories.

Learner’s Book Session 1.1 Workbook Session 1.1

1.2 Quest!

3 hours

Learners explore how a story might develop and discover how to write and perform a monologue.

Learner’s Book Session 1.2 Workbook Session 1.2

1.3 Train trouble

3 hours, 30 minutes

Learners explore how to make a spoken anecdote and a written account more interesting.

Learner’s Book Session 1.3 Workbook Session 1.3 Language Worksheets 1.1 and 1.2 Differentiation Worksheets 1A, 1B, 1C

1.4 A hard journey

2 hours, 45 minutes

Learners identify the main events in a poem, explore the use of sound effects created by the poet’s choices of language and discuss alternative views of the meanings of a poem.

Learner’s Book Session 1.4 Workbook Session 1.4

1.5 Danger!

2 hours, 45 minutes

Learners identify ways in which a writer creates excitement and suspense, and explore the effects of using powerful verbs, ellipses and short sentences.

Learner’s Book Session 1.5 Workbook Session 1.5

3 hours, 15 minutes

Learners find out how to write an opening for a story that is exciting right from the start, and practise using another reader’s response to help evaluate and improve their writing.

Learner’s Book Session 1.6 Workbook Session 1.6

Session

1.6 Creating suspense

BACKGROUND KNOWLEDGE

For the teacher It is useful to have a good understanding of a range of different literary genres (historical fiction, traditional folk/fairy tales and myths, science fiction, mystery stories, fantasy fiction, adventure stories, etc.). Examples of these genres can be taken from your local culture and from other/international cultures. Be aware that features of a particular

genre are like ‘ingredients’, and the way writers combine them are like ‘recipes’. Make sure you know how writers use the narrative structure in an adventure story: • an opening that establishes setting and introduces characters • complicating and resulting events

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CONTINUED

TEACHING SKILLS FOCUS

For the student It will be useful for learners to have some familiarity with adventure stories, perhaps ones they have heard or read, or films based on adventure stories. They could also benefit from knowing some folk/ fairy tales from their own culture and other/ international cultures. They should understand some simple terminology: plot, narrative, character, setting.

• a resolution/ending • variations in chronology – for example, flashbacks and time-shifts You can also prepare for the work on sentence types and structure in Session 1.3 by having some extra examples of simple, compound and complex sentences based on learners’ everyday experience – for example, their journeys to and from school every day.

Learners at this stage already have plenty of experience of adventure stories. Most of the time they have been consumers – being read to, reading stories themselves or watching films – but sometimes they will have been producers, acting out stories as part of their imaginative play and writing stories as part of English lessons. However, they may not have been thinking consciously about how the story was constructed – or, in more literary terms, how the narrative was constructed. This kind of thinking will need some metalanguage. The notes on this unit include suggestions for active learning approaches. These will help you encourage learners to ask themselves questions about how adventure stories are constructed and identify details in narratives that will allow them to make inferences.

Active learning A powerful idea behind active learning is that learners create knowledge for themselves rather than it being given to them. Learners gain knowledge by doing activities, solving problems, and making new connections in their own thinking. The learner is active in the process of creating their new knowledge and learning. They have not just been told a new fact or concept, but rather have understood something well enough to write a text, solve a problem, perform a task well, or discuss a subject in an informed way. The challenge with active learning is to stop yourself telling learners things that they could discover for themselves. An active learning approach may mean that you have to give learners more time, but it will help them to take ownership of their learning instead of just accepting it as a new piece of knowledge that is handed to them.

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1.1 The start of an adventure LEARNING PLAN Learning objectives

Learning intentions

Success criteria

7Rv.01, 7Rs.01, 7Rs.02, 7Ri.01, 7Ri.03, 7Ri.06, 7Ri.07

Learners will:

Learners can:

• discuss the features of adventure stories

• identify some features of adventure stories

• look for explicit information in a text

• locate explicit information in a text and understand its meaning

LANGUAGE SUPPORT

• explore how writers structure their stories.

Note that there is no difference in the degree of certainty from the three modal verbs. This is often indicated with intonation in speaking or from the context of writing. Learners should be careful not to confuse maybe with may be – for example, He may be late tomorrow. / Maybe he’ll be late tomorrow. The first example shows the modal + infinitive and the second example shows the adverb. They have similar meanings in a sentence but different grammatical forms.

In this session, learners are asked to predict what they think will happen in a story. To do so, they will need to use the future form of will + infinitive as well as modal verbs showing degrees of certainty. These have the same form, but it is useful for learners to focus on the function of the different verbs. will + infinitive = a prediction for the future or a certain event in the future might/may/could + infinitive = a possibility about an event in the future

• comment on the narrative structure of a text.

Starter idea

Going on an adventure (20 minutes) Description: Direct learners to the Getting started activity in the Learner’s Book. Read it through with them, then give them five minutes (in pairs) to follow the instruction. Invite pairs of learners to offer examples of stories and/ or films from their lists. Write the most useful examples on the board, and ask the class what aspects of these stories make them good examples of adventure stories. (You could introduce the idea of adventure stories as a genre now.) Add these details to the titles on the board.

Then combine the pairs of learners into groups of four. Ask them to imagine they will be going on an adventure as a group. They can choose where they are going and why. Tell them they have five minutes to work out and write down: where they are going, why they are going, what roles each of them will play, and what skills each of them needs in order to succeed in their adventure. End this activity by asking the groups to tell you what ideas they came up with. Tell them that they will return to the ideas of roles and skills later in the unit.

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Main teaching ideas 1 Adventure stories as a genre and as a ‘recipe’ (30 minutes) Learning intention: Discuss the features of adventure stories. Resources: Learner’s Book, Session 1.1, Activity 1

After ten minutes, suggest to learners that constructing a story in a particular genre is like cooking: you need ingredients and a recipe. Combine pairs of learners into groups of four and give them an additional five minutes to compare their findings about characters, situations and settings in adventure stories.

•

At the end of the reading, tell learners that they have 15 minutes, working in pairs, to complete Activity 3 in the Learner’s Book. When they reread the extract, they can read sections aloud to each other if they want to.

Support: Go round the class while learners are working in pairs and offer them some simple prompts about characters and settings – for example, by suggesting that they could think of a challenge or a difficulty that has to be overcome in an adventure story.

Differentiation ideas:

•

Support: The prompts for Activity 3 are ordered so that the simplest reading task – reading for explicit information – comes first. While learners are working in pairs, support less confident readers by helping them to locate information in response to the first prompt. (You could ask them to skim-read the passage for any reference to family members: mother, father, brother, sister, grandparent, and so on).

•

Challenge: Encourage learners to work out what is unusual about the setting and the story by using what they already know about the genre of adventure stories.

•

Introduce the extract as just the opening of a story. Read the story aloud, slowly enough for learners who may need more time to follow the text and to have time to notice interesting uses of language.

Differentiation ideas:

Direct learners to the Activity 3. Tell them that they will have a second chance to read the extract from Session 1.1 for themselves, before they do Activity 3. They will come back to Activity 2 later. Take learners through the instruction for Activity 3, and ask them to suggest brief headings for the notes they will be making. Write these on the board and remind learners that these are the things they need to pay most attention to on the first reading.

Description: Direct learners to the list on the board from the starter activity and ask them if they can see any features that adventure stories have in common. Tell learners that they have ten min, working in pairs, to discuss the prompts in Activity 1 of the Learner’s Book and make notes. While learners are working in pairs, write the words ‘Ingredients’ and ‘Recipe’ as headings on the board.

it is not an unusual one – it may be determination or bravery – but the character simply has more of this quality than the average person. If any of the examples that learners have contributed so far include such a character, draw their attention to it. If not, tell them that they are about to read the opening of a story where a character has a most unusual skill.

Challenge: Invite learners to start thinking about the ‘Ingredients’ and ‘Recipe’ in an adventure story.

Assessment ideas: Bring the class together. Check on how well they have grasped the ideas of genre and ‘recipe’ by inviting them to contribute ideas and examples. Challenge their understanding by asking them about how you can display these ideas and examples on the board in relation to what is already written there.

2 The start of an adventure (30 minutes) Learning intention: Look for explicit information in a text. Resources: Learner’s Book, Session 1.1, ‘Beware Low-Flying Girls’ extract 1, Activity 3 Description: Suggest to learners that one important ‘ingredient’ in an adventure story is for a character to have a special skill, ability or quality. Sometimes

Assessment ideas: Work through the Activity 3 prompts, noting learners’ responses on the board under the headings you wrote earlier (‘Recipe’ and ‘Ingredients’). You can assess learners’ ability to locate explicit information from their answers to the first prompt. Remind learners of the higher-level reading skill of inference by inviting them to work out (infer) why the writer has created an unusual setting and a ‘family’ of just two characters.

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3 Working out the meaning of words (30 minutes)

Resources: Workbook, Session 1.1, Focus and Practice activities

She stretched out the corners of her coat. She began to run, downhill, her feet kicking up a spray of snow. The coat billowed out behind her.

Description: Ask learners to imagine they are going to tell someone the story of their journey to school this morning. Ask them what part of that story they would tell first. Guide learners towards the idea of telling a story in the same order in which the events occurred – chronological order: an order that depends on time. Write ‘chronological order’ on the board and invite learners to suggest some definitions of it. Work on agreeing a collaborative class definition.

Direct learners’ attention to these sentences and ask them to imagine a picture in their minds of Odile running down the hill after she has stretched out the coat. Remind them that this is her father’s coat, so it is much too big for her. Then ask them what would happen to her coat as she ran.

Next, direct learners to the introduction in the Workbook. Make sure they understand that writers have choices about the narrative structure they choose: they do not have to narrate in chronological order, and they do not have to reveal everything about the events at the same time.

Now direct learners to the Reading tip in the Learner’s Book and read it through with them. Ask them: ‘Does the explanation of “billowed” here match your mental picture of what Odile’s coat did?’

Give them 20 minutes to complete the Focus and Practice activities in the Workbook. They may do the reading, thinking and discussing in pairs, but should each do the writing individually.

Learning intention: Work out the meaning of unfamiliar words. Resources: Learner’s Book, Session 1.1, ‘Beware Low-Flying Girls’ Extract 1, Activity 2

Description: Prepare by writing these sentences from the end of the extract on the board:

Differentiation ideas:

Make sure learners realise that they have just used the method recommended in the Reading tip – using details from the surrounding sentences to help you work out meanings. Another word for this is context: all the surrounding circumstances.

Direct them to Activity 2 in the Learner’s Book and give them ten minutes to try the method out on the four words from the third paragraph of the story. Differentiation ideas:

Support: Suggest that less confident readers look at the sentence that follows the first word (‘fierce’) and ask them what it tells them about the wind.

•

Challenge: Encourage more confident learners to consider alternative possible meanings – even directly opposite meanings – for ‘irate’.

Assessment ideas: As a class, ask learners to tell you whether they used any other method – apart from context – for trying to work out meanings. If any learners have used other methods or approaches, encourage them to talk the class through them. Write the most successful methods on the board.

4 Narrative structure (30 minutes) Learning intention: Explore how writers structure their stories.

•

Support: If learners are struggling with the Practice activity, tell them to start with the events that happen when the twins are at sea (the second prompt).

•

Challenge: Encourage more confident learners to pay particular attention to verb forms that indicate that something had happened further back in the past. The auxiliary verb had is the key word to look for in the extract.

Assessment ideas: After reviewing the Practice activity as a class, give learners an additional two min (in pairs) to look at how the nonchronological order works in the paragraph. Then ask them if they noticed anything about the writer’s choices of language. If learners have not noticed the use of had, point it out to them.

5 The path through ‘Beware, Low-Flying Girls’ (40 minutes) Learning intention: Explore how writers structure their stories. Resources: Learner’s Book, Session 1.1, ‘Beware Low-Flying Girls’ extract, Activities 4–6 Description: Direct learners to Activity 4 and the timeline for ‘Beware, Low-Flying Girls’. Put them

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into pairs and give them 20 minutes to complete Activities 4, 5 and 6. They should discuss the questions and ideas in pairs but keep their own individual notes. While learners are working, draw an extended timeline on the board, leaving enough space for: the last two main points from the extract (the final instruction in Activity 4)

•

the reasons for three features of the extract’s narrative structure (the three questions in Activity 5)

•

learners’ predictions (Activity 6). Differentiation ideas:

Invite learners to say what new ‘ingredients’ they have discovered from this session and add these to the ‘After’ column. Ask learners to look carefully at these lists and to tell you what they can see – or what they have realised – about ‘recipes’ for putting these ingredients together in an adventure story. Write any helpful insights on the board. If learners are struggling to see the relevance of the ‘recipe’, remind them about narrative structure: writers make choices about when and how to introduce their ‘ingredients’ into the mixture.

The second point on the timeline is about Odile’s father’s coat.

•

The fourth point on the timeline is about how Odile lives with her grandfather.

•

Learners could think about why the writer tells us these two things but leaves us to imagine what might have happened to Odile’s father.

Now direct learners to Activity 7. They should work alone to complete this, using their own words and making their explanations as clear and simple as they can. After ten minutes, give learners two minutes in pairs to compare what they have written. End the session by asking learners to read out individual sentences from their summaries. Invite the class to comment – not on the content of each sentence but on how brief and clear it is as a summary. If the class can detect any common ways in which the sentences are not good as summaries – for example, if they are too general or if they fail to use examples – and write these on the board.

•

Challenge: Encourage more confident learners to add one more factor to their discussions in Activity 6 – their knowledge of what typically happens in stories in the adventure genre. Ask learners to think back to the ‘ingredients’/’recipe’ idea.

•

Support: Activity 5 requires reasons/ explanations – learners have to make inferences (a higher-order reading skill) about why the writer has made particular choices about the narrative structure. If they need more help, use the timeline on the board to suggest connections between different points. For example:

•

Invite learners to remind you of some of the features they considered to be ‘ingredients’ of adventure stories at the start of the session. Write some of these on the board in the ‘Before’ column.

•

Description: On the board, write ‘Features of adventure stories’, with two columns below it: ‘Before’ and ‘After’.

Assessment ideas: Assess progress in understanding of the adventure-story genre and of writers’ use of narrative structure by asking learners to offer further explanation and development to their answers. Add any useful and interesting points to the timeline on the board. At the end of the discussion, tell learners to copy down the annotated timeline: they will use the ideas in the Plenary.

Plenary idea What have we learnt? (20 minutes) Resources: Learner’s Book, Session 1.1, Learners' notes from Activities 4–6, Activity 7

CROSS-CURRICULAR LINK Physics: Introduce a more technical view of the weather conditions at the start of the story, and of Odile’s ability to fly. For example: • the increase in wind-speed in mountain areas and at higher altitudes in general •

how seagulls use winds to fly

•

how much wind-force it would actually take to lift a human being off the ground

•

how hang-gliding and kite-surfing work.

Homework idea Learners should complete the Session 1.1 Challenge section of the Workbook for homework.

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1.2 Quest! LEARNING PLAN Learning objectivess

Learning intentions

Success criteria

7Rs.01, 7Ri.01, 7Ri.08, 7Ri.12, 7Ws.01, 7Wc.05, 7Wc.06, 7SLs.01, 7SLp.01, 7SLr.01

Learners will:

Learners can:

• discuss how stories develop

• predict how stories will develop

• explore the features of a monologue

LANGUAGE SUPPORT

• write and perform an interesting monologue.

• write and perform a monologue.

• identify the key features of a monologue

Learners can practise this by focusing on a sentence and identifying the content words that should be stressed and the grammatical words that should have less stress. This will raise awareness of speech patterns in English and will help learners with both speaking and listening.

The Speaking tip in this session highlights emphasis and sentence stress. Ensure that learners understand that English is a stress-timed language, putting equal emphasis on content words, such as nouns and verbs, in a sentence and less emphasis on other grammatical words, such as articles, prepositions and auxiliary verbs.

Common misconceptions

How to identify

How to overcome

Some learners might believe that every element of a good adventure story has to be unusual. This might lead them to ignore simple elements, such as family and friendship, which allow the average reader to identify and sympathise with the character(s).

Ask learners to think back to Session 1.1. Recap (by asking questions) what was unusual about the setting and situation at the start of the story about Odile.

Ask learners to suggest one unusual feature followed by one normal/everyday feature of Odile’s situation. Make a two-column list on the board to record what learners suggest. Keep going with this until learners understand how there is a balance between the ordinary and the extraordinary.

Misconception

Starter idea What is a quest? (15 minutes) Resources: Learner’s Book, Session 1.2, Getting started activity

Description: Write on the board some of the elements of adventure stories considered in Session 1.1 and the characters involved in them, for example: often involve journeys; characters may have special skills or powers (although not necessarily aware of them at the start);

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characters face challenges; often develop friendships to overcome challenges and reach a happy ending. Ask learners what they understand by a ‘quest’ and note down some of their interpretations on the board in addition to the elements of adventure stories considered in Session 1.1 (which are already marked up on the board). Give them five minutes to complete the ‘Getting started activity.

Ask learners to share ideas from their lists with the class. Write on the board the ones you think are most suitable to help less confident learners to grasp the idea of the quest.

Main teaching ideas

•

Ask the class to tell you when they think the list is complete.

•

Invite them to comment on any/all of these developments in the plot.

•

Put learners in pairs and give them 15 minutes to read the next extract and complete Activity 2.

Then ask the class for their thoughts about how the story could develop. Encourage learners to respond to each other’s ideas by commenting on how well they matched with the bullet points in Activity 2.

Afterwards, have a class discussion to ensure learners have understood how the word ‘quest’ is connected to ‘question’. Guide them towards understanding that a search of some kind is involved. Ask them what you are searching for when you ask a question. Explain that, for centuries, the quest has been a common feature of adventure stories.

to tell you one piece of information at a time. As learners do this, write each item on the board in bullet-point form.

1 What happens to Odile next? (30 minutes)

•

Support: While they are working in pairs, guide less confident learners to notice that there are details relating to Odile’s senses: she feels (when she kisses his cheek) that her grandfather’s skin was colder than usual; the writer compares the smell she notices with a series of very unpleasant things

•

Challenge: Encourage more confident learners to look for details that remind them of other tales of lone girls in a hostile environment. For example, the question the Kraik’s voice asks her is like the wolf in the story of Little Red Riding Hood: ‘Where are you going, little girl?’

Learning intention: Describe how stories develop.

Differentiation ideas:

Resources: Learner’s Book, Session 1.2, ‘Beware Low-Flying Girls’ extract, Activities 1 and 2

Description: Direct learners to Activity 1 in the Learner’s Book and give them ten minutes to work in pairs to discuss the two ideas about how the story might develop and then compare it to their own predictions. Come together as a class and invite learners to comment on any elements of either version. Use a four-column list on the board to record their ideas – elements they approved of (‘pros’) and elements they disapproved of (‘cons’) for each version.

Encourage learners to explain their reasons for preferring one version over the other – or for thinking that some parts of either version were better than others. Guide them to think back to the ‘ingredients’ of adventure stories, and the typical ‘recipe’ for a quest story. Direct learners to the introduction to the next part of the story. Point out that there are five sentences in this introduction, and that each one contains a new piece of information about what has happened since we left Odile at the end of Session 1.1. Give them one minute to read the introductory paragraph, then ask them to close their books and

Assessment ideas: Set a simple exercise to check learners’ understanding of the point the story has reached. Give them five minutes to write just one more sentence to add to the extract – it should be the next thing said by the thin and quiet voice. It might be another question, an invitation or a warning, but it must match the rest of the text.

2 A voice for Odile (30 minutes) Learning intention: Explore the features of a monologue. Resources: Workbook, Session 1.2, Focus and Practice activities Description: Prepare by writing the words: ‘Person’, ‘Voice’, ‘Dialogue’ and ‘Monologue’ on the board as headings. Ask learners to look back at the single sentence they wrote at the end of the last activity – and ask them whose voice is speaking in that sentence. Then ask them if we have heard Odile’s voice yet in the story.

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Learners should realise that we have not, because the narrative voice is not Odile’s, and there has been no dialogue. Direct their attention to the words on the board. Make sure they understand all these terms by asking them to explain them to you, starting with voice and dialogue. You can initiate a brief discussion of the word ‘monologue’ to practise skills of working out meaning. To reinforce learners’ understanding, ask them for other words beginning with ‘mono’.

Differentiation ideas:

•

there will be just one voice, telling a story from one point of view • some of what they hear will be facts and information – so learners will just need to listen and identify those facts • some of what they hear will be about the speaker’s feelings – so learners will have to infer what these feelings are. Read through the five questions and remind learners that questions contain information, so they will know some things about the story and the people involved even before they hear the audio recording. Ask them to tell you what they learn from the questions, and write these pieces of information on the board. For example, Question 3 b asks: Why does Alex think the music shop owners are happy to let John play the guitars? This tells you that: • there is a music shop in the story • the shop owners let a character called John play the guitars • Alex thinks the shop owners are happy to allow this • (perhaps) Alex has an opinion about this.

Then give learners 15 minutes to complete the Workbook, Session 1.2, Focus and Practice activities individually.

Read through the introduction to Activity 3 with learners. Explain that they will be listening to an audio recording of a monologue and answering questions about what they have heard. Invite learners to help you to create a spider diagram on the board that will remind them of all the key ideas from the introduction to Activity 3. They should understand that:

Support: While they are working on the Practice activity, make sure that less confident learners have understood the instruction and are following the annotation model in the Workbook.

•

Challenge: Encourage more confident readers to ask what the purpose of the Practice activity is. They should understand that the details and descriptions that they pick out are likely to be the things going through Odile’s mind. The reader is left to infer these things because the story is not being told through Odile’s voice.

•

Assessment ideas: Work quickly through the answers to the Focus questions. Ask learners what effect it has when the storytelling is shifted to Odile’s first-person point of view. Then work through their answers to the Practice activity. You can assess how far learners have understood what can be inferred about what Odile might be thinking and feeling. 01

3 The speaker’s point of view (30 minutes) Learning intention: Explore the features of a monologue. Resources: Learner’s Book, Session 1.2, Activity 3

Direct learners to the Listening tip in the Learner’s Book. Emphasise that they should listen carefully for explicit information (what happens – the facts) and think also about any implicit information (feelings or attitudes) that the speaker is communicating. Play the recording and allow five mins afterwards for learners to write their answers in note form. Differentiation ideas: •

Support: Play the recording a second time, after the first five minutes of answering the questions, to give learners a chance to listen for anything they missed.

•

Challenge: Emphasise to learners that they need to listen for tone as a clue to a speaker’s attitudes and feelings (inference and implicit meaning).

Download the audio transcript for this activity on Cambridge GO. Description: Check that learners have fully grasped what a monologue is and how it relates to dialogue. (These words should still be on the board from the last activity.)

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Assessment ideas: Put learners into pairs and give them five minutes to look at each other’s answers. Tell them they should comment on their partner’s answers, highlighting whether an answer has involved inference as well as identifying information.

4 Planning, writing and performing a monologue (50 minutes) Learning intention: Write and perform a monologue. Resources: Learner’s Book, Session 1.2; Activities 4–6 and the ‘Speaking tip’

Differentiation ideas:

Plenary idea

Reflecting on monologues (20 minutes) Description: Ask learners to share with the whole class the points they put in their checklists and some comments on how well they and their partners performed. Record on the board the things they thought they did best and the things they thought they did least well.

Ask learners about what they had learnt from listening to a monologue: they can refer to their notes from Activity 4. Then ask how they used that knowledge in their own writing and performance of a monologue.

Challenge: Encourage more confident learners to challenge themselves by leaving Odile in a difficult or dangerous situation rather than having a neat ending to their monologue.

Next, direct learners to the Reflection feature at the end of Session 1.2. Tell them they will now have a second chance to perform their monologues and to show what they have learnt. Put learners into groups and tell them to complete the Peer assessment task.

Homework idea Learners should complete the Challenge section of Workbook Session 1.2 for homework.

•

Support: Give learners a starter sentence – two or three if necessary – to begin their monologue. For example: I could see nothing, but I was sure it must be one of the Kraiks. Grandfather had warned me to be careful of them. I said nothing in reply, but just kept climbing…

•

Learners then have an additional ten minutes to perform their monologues to each other, and to give each other feedback using the checklists.

Description: Direct learners to Activity 4 and tell them they have ten minutes to complete it. They should work in pairs and keep notes of what they discuss. Once time is up, ask learners to share what they have discussed. Write the most useful findings on the board. Learners should then have 20 minutes working on their own to complete Activities 5 and 6 (ten minutes on the planning and ten on the writing).

Assessment ideas: Paired assessment: After learners have finished writing their monologues, put them into pairs. Give them ten minutes to work together to create a checklist of six points that will allow them to assess each other’s monologues. The first four points should be based on Activity 6 and the last two should be based on the Speaking tip. For example, the first point could be: Is it written from Odile’s point of view?

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1.3 Train trouble LEARNING PLAN Learning intentions

Success criteria

7Ri.02, 7Ri.03, 7Ri.04, 7Ri.10, 7Rg.02, 7Rg.03, 7Wg.03, 7Wg.04, 7Wp.04, 7SLm.02, 7SLm.04, 7SLm.05

Learners will:

Learners can:

• explore ways of using speech to engage an audience

• use language to engage listeners in a spoken account

• look for implicit meaning in a text

• identify and understand implicit information in a text

• use different sentence types to add interest to descriptive writing.

• use different sentence types to write an interesting account.

LANGUAGE SUPPORT

Learning objectivess

the main clause for meaning. Learners could also consider the subordinating conjunctions, such as because, as, since, though, unless, once, before, after, which are often used to introduce these clauses. Other subordinate clauses can be relative clauses, which are introduced by relative pronouns such as what, which, when, whose, that. Language Worksheet 1.2 provides further support and practice in this area.

Some of the texts in this unit include long sentences that may be challenging for some learners. Support these learners by analysing the sentences and helping them identify different clauses, including the main clause and subordinate clause(s). A useful way to help learners to identify subordinate clauses is to explain that this type of clause cannot exist on its own – it depends on

Common misconceptions

How to identify

How to overcome

Learners might think that the labels ‘simple’, ‘compound’ and ‘complex’ apply to the vocabulary and ideas in a sentence. This is not true: these terms refer to the way the sentence is constructed. You can have a simple sentence with very complicated ideas and vocabulary.

In Activity 5, encourage learners to offer examples of simple sentences, and comment on how far the ideas and vocabulary are also simple.

Ask learners to invent simple sentences that express complicated ideas and use advanced or specialised vocabulary.

Misconception

Starter idea 1 A difficult start to a journey (15 minutes) Resources: Learner’s Book, Session 1.3, Getting started activity

Description: Once in pairs, ask learners to think of times when they have had a difficult start to a journey. Then, in turns, ask them to tell each other about some of these times. If learners need some help to think of a situation from their own

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experience, tell them to look at the examples of possible situations in the Getting started activity in the Learner’s Book. Give each learner time to outline at least two examples of a difficult start to a journey to their partner. Next, they should each agree on one example that they think might make a good/interesting/amusing story. Finally, for their chosen example, each learner should compose and write down a really interesting first sentence that will grab the attention of the listeners.

Main teaching ideas

Challenge: Challenge more confident speakers by encouraging them to make a list (one small cue-card only) of interesting descriptive words that they might use. Make sure they use nonverbal communication techniques to enhance their anecdote-telling.

Assessment ideas: Learners could each give feedback to each other on their anecdotes, commenting on the details included and the style in which the anecdote was told. They should refer to the points listed on the board and in the Learner’s Book.

2 Around India in 80 Trains (40 minutes) Learning intention: Look for implicit meaning in a text.

1 Recounting an anecdote (20 minutes)

•

Learning intention: Explore ways of using speech to engage an audience. Resources: Learner’s Book, Session 1.3, Getting started activity

Description: Explain to learners that they are going to work on an extract from an autobiography. The extract involves a difficult start to a journey. Draw learners’ attention to the introduction of the extract and read it through with them. Make sure they understand who the three characters are, by asking them to tell you what they know about them, as you write their names on the board

Description: Direct learners to the definition of ‘an anecdote’ in the Learner’s Book. Explain that an anecdote is more than just a recount of an experience. It is a deliberate attempt to turn that experience into a story that will engage and entertain the audience. Invite learners to suggest ways in which a speaker can make an anecdote more interesting to a listener. Write some of these on the board. Direct learners back to the sentence they wrote at the end of the starter activity. Ask them to think about how well this sentence matches the list on the board.

Resources: Learner’s Book, Session 1.3, Around India in 80 Trains extract, Activities 2 and 3

Then direct learners to the Speaking tip in the Learner’s Book. Make sure they understand it by asking them to pick out any points that are not already listed on the board. Add these points to the list. Next, put learners into pairs and allow ten minutes for them to practise telling each other their chosen anecdote. Before they start, they must: •

be certain about which ‘difficult start to a journey’ experience will make the best anecdote

•

make a list of the details they want to include

•

focus on the feelings as well as the situation – how to make listeners interested in the emotion of the event.

Give learners time to read the extract individually and then discuss the Activity 2 questions in pairs. When they have finished, invite learners to share their ideas with the whole class. Write the clearest pieces of explicit information on the board. Guide them towards understanding that the second part of Question 2 b (the feelings of the characters) might not be made completely explicit. Next, direct learners to the introduction to Activity 3 in the Learner’s Book and make sure they understand the example. Give them ten minutes to complete Activity 3. Finally, ask the whole class what they found from ‘reading between the lines’. Differentiation ideas: •

Support: As a visual reminder for Activity 2, display on the board a simplified version (in the form of two headings (‘Chennai Egmore station' and 'Actions of the three characters’) of the two parts of the question.

•

Challenge: As learners are working on finding information in the extract to answer the Activity 2 questions, you could encourage the

Differentiation ideas: •

Support: Help less confident learners by encouraging them to make a list (in note form only) of the details they want to include. One small cue-card is enough.

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more confident learners to think about what the writer makes explicit and what is left implicit. Assessment ideas: You can assess learners’ progress in their skills of inference by encouraging them to explain how the writer has used language in the text – for example, how the verb in we squeezed through suggests/implies that movement was difficult and uncomfortable.

3 Sentence types (30 minutes) Learning intention: Use different sentence types to add interest to descriptive writing.

Put learners into pairs and ask them to copy the table in Activity 4, leaving at least four lines for each of the three types of sentence structure. (They will use the table again in the next activity.) Allow them ten minutes to copy the two sentences from the board into the correct boxes, and then make some notes on the effect each sentence has. For each one, they should think about the explicit and implicit meaning, and how the structure of the sentence affects its meaning.

Resources: Learner’s Book, Session 1.1, ‘Beware, Low-Flying Girls’ extract, Session 1.3; Language focus section in Session 1.3; Language Worksheets 1.1 and 1.2; Differentiated Worksheets A, B, C.

Then look at the pair of sentences from Activity 4 in the Learner’s Book. Display them on the board. The first sentence is simple in structure, but not simple in its vocabulary or tone. The second is complex in structure and uses language in metaphorical ways.

Ask learners to reread the whole extract and add further examples of each type of sentence to their table.

Description: Read the Language focus information and the definitions of the sentence types in the Learner’s Book. Hand out the Differentiated Worksheets and give learners 30 minutes to work individually through the two activities. (Answers: See ‘Unit 1 Worksheet guidance and answers’.)

Invite learners to offer their suggestions about any implicit meaning they detected in the two sentences, and how the length and structure of either of those two sentences affected their meaning. For example, the short sentence Indian stations are not designed for running might make a reader feel the writer was talking to them personally – confiding a detail from their experience.

Differentiation ideas:

Monitor individual learners’ progress as they work through their worksheets, offering support; or you can leave them to work through the worksheets by themselves, following the written guidance on each worksheet.

Assessment ideas: Have a whole-class discussion to go over the examples of simple and compound sentences. Try to ensure that all learners have a secure understanding of what a main clause is, and how simple and compound sentences are constructed.

4 Sentence types and effects (45 minutes) Learning intention: Use different sentence types to add interest to descriptive writing Resources: Learner’s Book, Session 1.3, Around India in 80 Trains extract, Activity 4 Description: Reread the Language focus section in the Learner’s Book. Make sure that learners understand that simple/compound/complex are descriptions of the structure of the sentence. A sentence can be simple in structure but still contain difficult ideas and/or advanced vocabulary.

Differentiation ideas:

•

Support: Help the least confident learners to identify sentence types accurately. Tell them they can check with you if they are unsure of these, but insist on them giving you their answer – and the reasons for it – first.

•

Challenge: Encourage more confident learners towards exploring the possible different effects created by sentence length and structure – for example, how the long lists (such as strings of hand-holding children, hobbling dogs, stacked hessian sacks, nose-pickers, watersellers, booksellers and red-shirted porters) create a sense of chaos and crowdedness.

Assessment ideas: Once learners are in pairs, allow them five minutes to look at each other’s tables, then an additional five minutes to discuss any choices of sentence types that they do not agree on. Check learners’ understanding as you monitor their individual and pair work.

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5 A written anecdote (30 minutes) Learning intention: Use different sentence types to add interest to descriptive writing. Resources: Learner’s Book, Session 1.3, Activity 5 Description: Direct learners to Activity 5 and read it through with them. Read the Writing tip and remind learners they should refer to it again as they do their writing. Then give learners 20 minutes to complete the activity, writing a version of their anecdote from Activity 1. Differentiation idseas:

•

Support: Write on the board the main points from the Writing tip and Peer assessment questions as a checklist.

Direct learners to the Language Focus section, and read it through with them. End the session by giving them three minutes to read through the second extract from Around India in 80 Trains in the Workbook Focus activity individually, then ask them to pick out individual examples of effective choices of words. Ask learners to explain the effect of any example they choose. Reinforce the learning by writing on the board the examples that learners can most readily agree on – for example, how the phrase ineffectual wisps of air conveys the idea that there is no escape from the heat.

•

sentences of the extract from Around India in 80 Trains in the Learner’s Book and ask them to comment on the language the writer has chosen to paint a picture of the scene.

Challenge: Encourage more confident writers to follow the guidance in the Writing tip about how a written account has to follow the ‘rules’ of written English, but also to try to retain some of the liveliness of a spoken account.

CROSS-CURRICULAR LINKS

Geography: Show learners a map of India and its railways, and invite them to spend a few minutes looking at how someone might plan a series of journeys in order to travel ‘Around India in 80 Trains’. Get learners to trace the journey that begins from Chennai Egmore station on the Anantapuri Express to Nagercoil. A few YouTube clips of the Anantapuri Express to Nagercoil would be useful.

Assessment ideas: Ask learners to take it in turns to read their written anecdote aloud to a partner. They should correct any mistakes in their writing which they noticed as a result of having to read it aloud. They shouldalso give their partner helpful feedback on how well they managed to cover the points in the Writing tip and Peer assessment questions.

Note: Learners will be doing the Workbook activities for homework, but the Focus activity is about sentence structure rather than individual choices of words.

Plenary idea

How speakers and writers create effects (20 minutes)

Resources: Learner’s Book, Learners’ notes from completed activities in Session 1.3; Learner’s Book extract and Workbook extract from Around Indian in 80 Trains.

Description: Invite learners to think back over all the activities from this session and to make suggestions about what they have learnt about features of language that make good spoken and written anecdotes. Write the most useful of these on the board. Next, ask learners to suggest specific examples of as many of these features as they can from their own spoken-then-written anecdotes. If they are not quick to make suggestions, take them back to the last four

Homework ideas Use Workbook Session 1.3 as homework to reinforce learners’ understanding of sentence types. Point out to learners that in the extract in the Workbook, the narrator and her companion have now left Chennai Egmore station. The Focus activity uses the next part of Around India in 80 Trains, enabling less confident learners to concentrate on identifying the different kinds of sentence in a provided extract. The Practice activity requires learners to devise their own content for the different types of sentences, using their understanding to improve their own writing. In the Challenge activity, learners will be writing a paragraph, not just looking at individual sentences.

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1.4 A hard journey LEARNING PLAN Learning objectivess

Learning intentions

Success criteria

7Rv.02, 7Rv.03, 7Ri.01, 7Ri.03, 7Ri.04, 7Ri.08, 7Ri.10, 7Ra.02, 7SLg.01, 7SLg.02, 7SLg.03, 7SLg.04

Learners will:

Learners can:

• look for explicit and implicit meanings in poetry

• identify and explain explicit and implicit meanings in poetry

• explore how poets use language features for effect

LANGUAGE SUPPORT

• learn how to write an analysis of a poem.

• write an analysis of a poem.

‘banquet’ are old-fashioned or infrequently used words. Help learners understand the poem more fully by considering how these ideas might be expressed in modern English. Language Worksheet 1.1 provides further guidance on vocabulary with similar meanings.

The poem in this session may include some vocabulary and word order that are unfamiliar to students. Encourage them to spend time looking at the words and phrases, not only to work out meanings, but also to identify how and when these words are used. For example, the words ‘vessel’ and

Starter idea

• analyse how poets use language features for effect

The journey of life (15 minutes)

Resources: Learner’s Book, Session 1.4, Getting started activity Description: Prepare by writing two headings on the board: ‘Life is a Journey’; ‘Life is an Adventure’.

Once in pairs, ask learners to discuss ideas in the Getting started activity. Ask them to write down two sentences that portray ‘life as a journey’ and two sentences that portray ‘life as an adventure’. When pairs have created at least one example sentence each, ask them to read them out. Write a few on the board. It is likely that learners will create similes – for example, ‘Life is like travelling without a map’. Or they might create statements that read like mottos or wise sayings – for example, ‘Happy people treat life as an adventure’. Make use of this by guiding learners towards seeing patterns of language emerging from the examples on the board, and arranging the examples in groups.

End by suggesting to learners that writers – and especially poets – start with ideas like this and then construct an entire text from them. If the class has generated any examples that look as though they could develop into sustained or extended metaphors, you could point these out.

Main teaching ideas 1 ‘Hard is the Journey’ (20 minutes) Learning intention: Look for explicit and implicit meanings in poetry. Resources: Learner’s Book, Session 1.4, Activity 1, ‘Hard is the Journey’ poem. Description: Prepare learners by asking them to think of a person’s life in stages: being born, being a child, growing to adulthood, becoming independent, having a family of your own, facing challenges, growing older. You could show these stages on a timeline, as learners did with the stages in Odile’s narrative in Session 1.1. Draw a rough timeline on the board to

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show stages of life. Ask learners what other ways they can think of to represent the different stages or parts of human life. Remind them that poems are usually written in sections of lines called stanzas. Like a new paragraph, a new stanza usually marks a new stage/ step in the organisation of the text. Next, invite learners to think back to the starter activity and the idea of representing life as a journey. What if you had lived over a thousand years ago, as a wealthy and adventurous man in ancient China? What similes and images and metaphors would you have used to represent the journey of life? Write down some of the suggestions that learners make.

Ask learners if they know any words to describe these sounds. They may or may not know the terms ‘alliteration’ and ‘sibilance’. If they do, write them on the board and invite learners to offer some more examples. If they do not know these words, direct them to the definitions in the Key words box in the Learner’s Book and make sure learners know the difference between consonants and vowels. Next, read through the Language focus section with learners to consolidate their understanding of how these language techniques work.

Before learners read the poem, review the Glossary box terms with them. If they know that ‘jade’ was the rarest and most valuable precious stone in ancient China, what might a poet be implying by referring to it? What about the word ‘banquet’?

They should recognise that the first two important words begin with ‘p’ and the next two with ‘s’. They might also notice that all four words end in ‘s’ (the usual ending in English for plural nouns) and that successions has four sounds that are ‘s’ or close to ‘s’.

Differentiation ideas:

•

Support: If learners are struggling to cope with explicit meaning, encourage them to concentrate on the actions of the poem’s narrator. What does he do in each stanza?

•

Differentiation ideas:

•

Support: Model on the board a helpful format for completing this activity (a threecolumn table headed: Example; Alliteration or Sibilance?; Effect) and add one example. An easy one would be: breeze breaks.

Ask learners to read the poem ‘Hard is the Journey’ and complete Activity 1 to describe what happens in the poem. Remind them to use their own words, not just copy lines from the poem. When they have all completed the table, put learners in pairs to compare what they have written.

Learners should complete Activity 2 on their own.

Challenge: Direct the more confident readers, who may have quickly completed the table, to focus on the sounds of the poem. In pairs, they could take it in turns to read stanzas aloud to each other.

Assessment ideas: Ask learners to peer assess each other’s answers, considering any differences in their tables and how far they have managed to use their own words.

2 Patterns in poems and successions of sounds (30 minutes) Learning intention: Explore how poets use language features for effect.

•

Challenge: Encourage more confident learners, who may have already taken it in turns to read stanzas aloud to each other, to listen (and look) for other sound patterns – for example, the internal vowel sounds in fine wines – and to investigate whether there are technical terms for these too.

Assessment ideas: Ask learners for their examples in order to assess their ability to locate and identify these sound effects. If you push them to explain the effects, you can also assess their skills of evaluation.

3 Making inferences (15 minutes) Learning intention: Look for explicit and implicit meanings in poetry. Resources: Learner’s Book, Session 1.4, ‘Hard is the Journey’ poem, Activities 3–5

Resources: Learner’s Book, Session 1.4, Activity 2

Description: Remind learners that the poem they have been studying is about stages in the journey of life.

Description: Prepare by writing the title of this teaching idea on the board: ‘Patterns in poems and successions of sounds’. Ask learners to read it aloud three times. Ask them what they notice about it.

Direct them to Activities 3 and 4, and tell learners they have 15 minutes working in pairs to discuss the questions and make notes on them. Point out to learners that the answers to some of these questions

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are definite – if they read the poem carefully, they will find a certain answer. Other questions are asking for their view or opinion, based on what the writer of the poem suggests – so their responses might vary. Explain that this is called ‘interpretation’ and that it will become increasingly important as they progress in their English studies. Remind them that it important that they refer to specific parts of the poem to support their opinions and ideas in discussion.

these views in a more formal way. Start learners off (in the same groups as before) and give them 25 minutes to complete Activities 6 and 7. They should pay special attention to the first two sentences in the Speaking tip. Differentiation ideas: •

Support: If necessary, offer groups support in organising themselves. For example, it may be helpful to some groups to choose one learner to make notes and another to be a time-keeper, making sure everyone gets a fair amount of time to speak.

•

Challenge: Where groups are able to organise themselves, you can encourage them to focus on how the poet uses words, sounds and images to create mood.

After 15 minutes, combine the pairs of learners into groups of four to complete Activity 5, discussing the meaning of the ending of the poem. •

Support: Guide less confident learners to evidence in the poem that might support their interpretation of why the narrator decides to stop feasting and picks up his sword – for example, the Yellow River and the T’ai-hang mountains, which he seems to have a need to cross and climb. Challenge: You can challenge more confident learners to offer further explanation, perhaps based on putting together several details from the poem to reach a developed interpretation.

Assessment ideas: Give each learner five extra minutes at the end to focus on how well they contributed to the discussion and debate. They should write down their answers to the questions posed in the Self-assessment section.

5 Analysing the poem (30 minutes)

•

Differentiation ideas:

Assessment ideas: Ensure that learners are using best practice in their group discussions. Move around the room as they are working and assess how well individuals perform as part of a group, including how well they listen, respond, identify points of agreement and disagreement and guide the discussion towards an appropriate outcome – whether they decide that the ending is happy (the narrator is able to sail on) or unhappy (his journey is endless and exhausting).

4 Debating the mood (40 minutes)

Learning intention: Look for explicit and implicit meanings in poetry. Resources: Learner’s Book, Session 1.5, Activities 6 and 7 Description: Direct learners to Activity 6. Read through the instruction and the two possible interpretations of the poem with them. Ask learners to tell you the meanings of the two words – pessimistic (view A) and optimistic (view B). The difference between the two views is very similar to the discussion in Activity 5 – however, in Activities 6 and 7, learners will have to debate

Learning intention: Learn how to write an analysis of a poem. Resources: Learner’s Book, Session 1.4, Activity 8 Description: Make sure learners have their notes from all previous activities in this session, then ask them to look at Activity 8. Tell them they will have ten minutes to plan and 20 minutes to write their response to the task. Suggest to them that they write one paragraph in response to each prompt – approximately 70 words per paragraph. Differentiation ideas: •

Support: Make sure that less confident learners make an adequate plan before they start to write. Help them if necessary (on a one-to-one basis) to craft an opening sentence as this is often the most difficult part.

•

Challenge: As in Activities 6 and 7, encourage the more confident learners to include and explore more complicated ideas, such as mood.

Assessment ideas: Tell learners to exchange what they have written with a partner (pairing up learners of similar ability). Each learner should read their

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partner’s response and offer feedback on one aspect their partner has covered well and one that could be improved without having to rewrite the whole response. Allow learners time to make any changes in response to this feedback. They should then hand in their writing for teacher assessment.

Plenary idea

proceedings, but in this case, you just want to hear as many thoughtful views as possible. Invite learners to put forward their ideas about the whole poem, or about individual stanzas or particular details. Make sure all the ideas put forward are explored, and that learners are encouraged to support their views by referring to particular details in the poem. End the session by asking learners what they have learnt from the Session 1.4 regarding:

Resources: Notes from Activities 6 and 7

•

exploring explicit and implicit meanings in poetry

Description: Display on the board the two views from Activity 6 in the Learner’s Book. They should be presented in bullet-point form, with plenty of space to record additional ideas and details from the text.

•

how poets use language features and sounds for effect

•

how to write an analysis of a poem.

Read the Speaking tip in the Learner’s Book aloud to the class. Explain that, in a more formal debate, there would be a chairperson who would control the

Homework idea

Learners should complete Workbook Session 1.4 for homework.

1.5 Danger!

Opinions of the poem (15 minutes)

LEARNING PLAN

Learning intentions

Success criteria

7Rv.02, 7Rv.03, 7Rg.01, 7Rg.02, 7Ri.01, 7Ri.03, 7Ri.04, 7Ri.09, 7SLp.01, 7SLp.03

Learners will:

Learners can:

• investigate some features of suspense writing

• comment on the features of suspense stories

• explore the effects of language and grammatical choices

• describe the effects of language and grammatical choices

Learning objectivess

• read aloud with expression

• read a story aloud with expression

LANGUAGE SUPPORT

The extract in this session contains examples of complex past tenses. The word order in these sentences may prove challenging for some learners – for example, After some careful searching, he found a suitable branch. Encourage

learners to reread such sentences and to look back to identify who is doing the action in the first clause. Use concept questions to check understanding – for example, asking: Who was searching? How was he searching?

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Differentiation ideas:

Starter idea Tension, suspense and danger (20 minutes)

•

Support: Provide some scaffolding for less confident readers in their response to Question 1 b. Make a two-column list on the board with the main heading ‘How James is feeling’ and, beneath, two columns headed: Explicit and Implicit. You can start each column off with one detail – for example, the opening clause He struggled on implies he was finding it very difficult.

•

Challenge: Encourage more confident readers to look at how the writer manages to tell the reader what James is thinking and feeling, even though this is a third-person narrative.

Resources: Learner’s Book, Session 1.5, Getting started activity Description: Prepare by writing the three title words: ‘Tension, Suspense, Danger’ on the board under a larger heading of ‘Adventure Stories’. Ask learners to comment on how these words and ideas are linked to each other, and invite them to suggest ways of arranging them on the board to show how they are connected. Encourage learners to share some examples of episodes from stories or scenes from films that feature these words.

Give learners five minutes working alone to make notes on how they would respond to the picture in the Getting started activity. Once in pairs, ask learners to share their ideas and then, finally, invite the whole class to share the ideas of suspense that the picture suggested to them.

Main teaching ideas

Assessment ideas: Work through the answers to Questions 1 a and 1 b to assess how well learners have understood the story – both explicit and implicit meaning. Invite learners to suggest answers to Question 1 c – the six most exciting sentences in the extract. You can assess how well they understand the way situations and events produce suspense and tension. Then you can ask learners to explain how the writer’s choices of particular words in these sentences create excitement, which will allow you to assess their awareness of language.

Ask learners if any of these examples make the links between danger, tension and suspense any clearer. Can the class agree on a sentence that would show how they are related?

1 Dangers and problems for James the spy (20 minutes)

Learning intentions: Investigate some features of suspense writing.

Resources: Learner’s Book, Session 1.5, Silverfin extract, Activity 1

Description: Direct learners to the introduction to the extract from Silverfin. Ask them to tell you, in their own words, four facts they learn about James’s situation. Write these on the board and ask learners to comment on how any or all of them might lead to danger, suspense or tension. For example, the fact that the only way to get in to the castle is to walk along a branch that hangs over a lake is an obvious source of danger and tension: will James try to make his way along it? Will he fall? When learners have explored the problems facing James and the possible dangers, ask them to read the extract on their own and answer the questions in Activity 1.

When learners have completed the task, put them into pairs to compare their answers to Question 1 c.

2 Storyboard for James the spy (25 minutes) Learning intentions: Investigate some features of suspense writing. Resources: Learner’s Book, Session 1.5, Activity 2, Silverfin extract, paper containing six blank storyboard panels. Description: Prepare whatever you think you may need for learners who are going to use the typical six-panel storyboard technique. If your learners are not familiar with the method, you may need to provide some examples. Draw a rough six-panel storyboard on the board. Keep learners in their pairs from the end of the previous activity, and remind them of their choices of the six most exciting sentences in the extract. Read the definition of ‘storyboard’ in the Learner’s Book and make sure everyone understands how a storyboard can work. Read through the instructions from Activity 2 with learners. Explain that they can decide how to approach the task: they could begin with the words and then choose or devise images to match, or they

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could start each panel with an image, then select words from the text to accompany it. They do not have to draw elaborate pictures: they can find suitable images on the internet, or they can draw a rough sketch (or stick figures). Alternatively, they can just write a description of the image they would like to use. Give each pair of learners enough six-panel sheets to allow them to experiment and make mistakes, and tell them they have 30 minutes to complete the activity. Differentiation ideas:

Ask learners to comment on the difference between ‘sneak’ and ‘get in’. Guide them towards realising that ‘sneak’ has implications of danger, while ‘get in’ has no real implications at all – it is what we call a neutral word. Now direct learners to the Language focus section. Read it through with learners, and concentrate on the verb ‘struggled’. Ask learners if this verb implies movement and power, as the text suggests. Guide them towards realising that ‘struggled’ actually has implications of weakness, of being stuck and finding it difficult to move. This is what makes it an effective verb to use here.

Support: Monitor pairs of learners as they are working to make sure they have understood the storyboard format. Guide them towards a sequence of images that tells this part of the story in a coherent way.

Read Activity 3 with learners and draw their attention to the order in which these instructions are written. Ask them to tell you exactly what the different parts of the task are, and the order in which they will do them.

•

Challenge: Encourage more confident learners to be imaginative in their choice of text to match their images.

Write this order on the board. Learners should realise that the sensible order is:

•

Read the extract, looking for powerful and effective verbs.

•

Make a note of each of these verbs and the effect it has.

•

Write the paragraph explaining how the writer uses these verbs to create excitement.

Assessment ideas: Encourage pairs of learners to visit other pairs and see how they have dealt with the task. Each learner should write down:

what they have learnt about the story and about suspense from doing the task

•

what they have learnt about storyboards from looking at the examples produced by other learners.

•

Differentiation ideas:

•

Support: Provide some scaffolding and prompts for less confident learners. Write on the board a two-column list with the headings ‘Verb’ and ‘Effect’. You could start learners off with one example: The verb ‘shuffled’ has the effect of implying slow and difficult movement that takes a lot of effort but does not take you very far.

•

Challenge: As learners are working, encourage them to notice the verbs that are followed immediately by another word (usually a preposition or an adverb) to create even more tension. Examples in the extract are bending sharply … crawling downwards … slipping forward … shuffled along … swaying alarmingly … tip off.

3 Using powerful verbs (40 minutes)

Learning intention: Explore the effects of language and grammatical choices. Resources: Learner’s Book, Session 1.5, Activity 3

Description: Direct learners back to the introduction to the extract from Silverfin. Read the second sentence: ‘At this point in the story, James is trying to sneak into a castle that hides a deadly secret.’ Ask learners what word class ‘sneak’ belongs to, and what it implies. When you have heard a number of answers, write on the board what the class finally agrees on. Learners should recognise that ‘sneak’ is a verb and that it suggests movement that is quiet and secretive. The person who ‘sneaks’ is trying not to be noticed. Point out to learners that the next sentence in the introduction tells us that: ‘The only way to get in is to walk along a branch that hangs over a lake.’

Assessment ideas: Pair up learners and ask them to compare their answers. Then invite learners to read aloud any individual examples from their partner’s work that they think are particularly good. Write the best of these on the board.

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4 Using sentence structure and punctuation for dramatic effect (30 minutes) Learning intention: Explore the effects of language and grammatical choices. Resources: Learner’s Book, Session 1.5, Activities 4–6 Description: Direct learners to Activity 4 and read the first sentence aloud. Explain that Activities 4, 5 and 6 are about the different language techniques writers use to create suspense and tension. Give learners 20 minutes to work through Activities 4 and 5, and to complete planning for Activity 6 in pairs.

Differentiation ideas:

Reading and performing a story aloud (30 minutes) Resources: Learner’s Book, Session 1.5, Silverfin extract, Activity 7 Description: Direct learners to Activity 7. Tell them they will have 15 minutes, working in pairs, to do the following: •

Take it in turns to read the extract once aloud to each other.

•

Look at the Activity 7 prompts and the Speaking tip

•

Work out how to do a joint reading of the extract, and make some notes as a reminder of what to focus on.

After they have done the planning for Activity 6 (by picking out examples from the extract) give learners more time to work individually on writing the paragraph.

Plenary idea

Support: Observe and listen to pairs as they work on Activities 4 and 5. You can intervene with help and guidance if you think learners need assistance to find examples or misunderstand the effect of the examples they have found.

•

Challenge: Remind more confident learners about the last point in the Reading tip. The use of short sentences will not always have the same effect.

Peer assessment: Ask learners to give feedback on each other’s paired reading, based on the prompts in Activity 7 and the points in the Speaking tip as a checklist. End by asking the class: ‘What do you understand better in the extract now that you have performed and listened to an effective reading?’

•

After 15 minutes, combine pairs of learners into groups of four and give them an additional ten minutes in which each pair will perform their joint/paired reading.

Assessment ideas: Use whole-class discussion to gather the answers to this sequence of activities. Work through each in turn, inviting learners to offer their ideas and encouraging other learners to challenge, question or add to the points raised. Explore some examples in detail – for instance, the sequence of (mostly) short sentences near the end of the extract, running from ‘He didn’t move.’ to ‘He’d be stuck.’ Going into detail and insisting on explanations will help you to assess whether learners are improving their ability to evaluate effects or just getting better at identifying features. (Being able to identify features is a necessary basic skill, but being able to go on to evaluate the effects is an important, higher-order reading and language skill.)

CROSS-CURRICULAR LINKS Biology: Learners could explore ideas about how our brains process the stories that we read, the images that we see or films that we watch. They could research what happens to our minds and emotions when we read about people in dangerous situations.

Homework idea Learners should complete Workbook Session 1.5 for homework.

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1.6 Creating suspense LEARNING PLAN Learning intentions

Success criteria

7Rs.03, 7Ri.12, 7Ww.01, 7Ww.03, 7Wv.01, 7Wv.02, 7Wg.01, 7Wg.03, 7Ws.01, 7Ws.02, 7Wc.01, 7Wc.02, 7Wc.03, 7Wc.06, 7Wp.01, 7Wp.02, 7Wp.04

Learners will:

Learners can:

• use planning techniques for a piece of narrative writing

• plan a piece of narrative writing

• explore what makes a successful opening to a story

• identify what makes a successful opening to a story

• write and edit a narrative text.

• write a narrative piece and edit work to improve it.

LANGUAGE SUPPORT

Learning objectivess

Slowly, I edged along the cliff.’ Help less confident learners to reconstruct the sentences, adding in parts of speech that have been left out for effect – for example: ‘There was absolute darkness.’

The extract in this session uses several short sentences for effect. They can be challenging for learners, especially if they use non-standard sentence structure – for example: ‘Absolute darkness. I’d never been this scared before.

Common misconceptions

How to identify

How to overcome

Ask learners to recall the focus of Session 1.5 – how a writer creates suspense by using particular features of language.

Suggest to learners that some situations are so full of tension that it is not necessary to use dramatic language to create more tension. For example, if a group of characters is on board a ship in stormy conditions when the ship’s engines fail, the situation is so tense that plain ordinary language will be enough. (See also the Starter idea.)

Misconception

Powerful verbs, short sentences and ellipses are always necessary to create suspense and tension.

Starter idea Tense situations and tense moments (15 minutes) Resources: Learner’s Book, Session 1.6, Getting started activity

Description: Prepare by making a list on the board of some of the ‘ingredients’ of typical adventure stories that learners covered in Sessions 1.1 and 1.2. You might include: •

a character with a particular talent or skill – even though they might not be aware of it

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•

a hidden danger or a disaster looming in the near future

•

a journey that must be undertaken, a challenge to be overcome, or a quest.

Suggest to learners that, as well as being typical ingredients for an adventure-story ‘recipe’, these elements also connect with Session 1.5 because they can all lead to a moment of high tension.

The first learner has three minutes to play the role of the author, explaining what the new novel will be about, who it will involve, where it will be set, and why it will be popular. The second learner then has two minutes to play the role of the publisher and to question the author about the plot, characters and setting of the new book. After five minutes, the two learners swap parts and go through the exercise again. Differentiation ideas:

Direct learners to the point of discussion in the Getting started activity and give them ten minutes in pairs to think of three examples of situations in adventure stories when there is a particular moment of high tension or imminent danger. After their pair discussions, invite learners to offer their examples to the whole class.

written the plan for a new novel and a publisher who has to decide whether this new novel is likely to appeal to the public.

•

Support: If learners are struggling for ideas in the first ten minutes, point out the two example ideas in the Learner’s Book, plus the following options:

•

The moment when the main character realises that she or he has special skills.

•

a character who realises their best friend is in serious danger

•

The point at which there is a decision to set out on a quest.

•

a character who is lost in the woods as darkness is falling.

•

The point at which characters realise that an unavoidable disaster is heading towards them – or they are heading towards it.

Alternatively, they could use a picture (such as the one in the Learner’s Book) as a starting point.

If learners are struggling with these ideas, prompt them by asking for examples from adventure stories concerning the following (and write the best of these on the board):

End the session by suggesting to learners that a writer does not have to use dramatic language techniques when the situation is already full of tension and suspense.

Main teaching ideas

1 Planning the start to a story involving suspense (30 minutes)

Learning intention: Use planning techniques for a piece of narrative writing.

Resources: Learner’s Book, Session 1.6, Activity 1 Description: Explain to learners that, later in the session, they will be writing part of a story involving suspense, but first they need to do some planning. Direct learners to Activity 1. Tell them they have ten minutes, working individually, to think about the four prompts in the activity and make some notes of their first ideas. After ten minutes, tell learners to stop writing, then put them into pairs and tell them that they are going to do an improvisation in which they play two characters: an author who has just

•

Challenge: Encourage learners to create as much detail as possible about their characters and their setting. It must seem real.

Assessment ideas: After the paired improvisation, give learners an extra five minutes to give each other further feedback on their story ideas so they can tell each other anything else apart from whatever they had already told each other in the improvisation.

2 Writing an effective opening (35 minutes) Learning intention: Explore what makes a successful opening to a story. Resources: Learner’s Book, Session 1.6, Activities 2 and 3 Description: Ask learners to write a straightforward opening for the story they have just planned – no more than three sentences. Give them strictly five minutes to do this. Put learners into pairs and give them another five minutes to share their opening three sentences. They should not comment: they should simply read their partner’s work and then give it back.

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Then direct learners to look at the two examples of openings in Activity 2. Ask them to discuss in their pairs: •

how the two openings are different from each other

•

why someone might think the second one is better.

Make sure learners understand that they do not have to write the whole story. Tell learners to stop writing after 30 minutes – though they can make some brief notes of any new ideas they have had, before they forget them. Differentiation ideas: •

Support: Write a list of prompts on the board under the heading ‘Help! I’m stuck!’. You can suggest any methods from your experience of helping learners to write, but you should include:

Move to a whole-class discussion. Invite learners to share their ideas about the two openings. Encourage them to give detailed explanations to support their opinions. For example, if they think that Absolute darkness. is a better way to start than I was walking along a cliff at night, then they must explain why a twoword minor sentence is better than a straightforward sentence that introduces a first-person narrator.

Description: Direct learners to the prompts in Activity 4. Tell them they have 30 minutes to follow the instructions. Explain that they can use whatever parts of their earlier planning they want to. They can also use any new ideas they now have.

Ask learners what they think there is to learn from these two alternative openings. As a reader, do you learn more from one than the other? Or are the facts of the story the same? Are you equally interested in both? Or does one grab your attention more than the other?

Differentiation ideas:

Challenge: Encourage more confident writers to be more adventurous in their language choices and to use different narrative structures – for example, a verb tense that takes the action out of the present.

•

Support: Offer suggestions for extra ideas to learners who need more help. For example, for learners who have written only one sentence and cannot think of how to continue, encourage them to look carefully at that one sentence to see what is in it that could be developed – or whether they need to start further back in their story.

•

Go back to before the beginning and tell the reader what had been happening then.

•

Make sure the reader knows what the character is thinking or feeling.

•

Remember you can imply things as well as stating them directly.

Challenge: At this stage, it would be better to leave the more confident learners to get on with their writing. You can intervene later, when you have an idea of how adventurous they have been.

Now ask learners to write an improved version of their own opening. They should keep the first version and attempt an alternative opening, concentrating on how to build suspense from the very beginning.

•

Assessment ideas: Ask learners to peer assess the final opening sentences. They may want to go back to the planning stage and ask their partner for help sorting out ideas and a narrative structure. Or they may want more detailed opinion about how their alternative openings work to grab the attention of the reader.

3 Writing a first draft (35 minutes) Learning intention: Use planning techniques for a piece of narrative writing. / Write and edit a narrative text.

Assessment ideas: Self- and peer assessment: Give learners five minutes to share what they have found difficult so far in the first draft. They should not read each other’s work yet (they will have a second opportunity for peer assessment in the next activity), but they should respond to what their partner says about their work.

4 Learning from a sample answer (60 minutes) Learning intention: Explore what makes a successful opening to a story. Write and edit a narrative text. Resources: Learner’s Book, Session 1.6, Sample answer to Activity 4, Activities 5 and 6 Description: Learners should remain in the same pairs as for earlier activities in this session. Ask them to read the sample answer to Activity 4 in their pairs. Explain that this is an example of a good response to the task. Learners should make notes on the sample answer in response to the instructions in Activities 5 and 6.

Resources: Learner’s Book, Session 1.6, Activity 4

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If they want to, they can read parts of the sample answer aloud to each other.

Plenary idea

When all learners have completed the tasks, come back together as a class. Remind learners that even professional writers redraft and rewrite their work. Read the Peer assessment section with them and then ask them to complete the task.

Description: Congratulate learners on having worked their way through a complicated planning, writing and re-drafting session.

They should then redraft their writing, following the prompts in the Writing tip. Differentiation ideas:

Read through the Reflection questions in the Learner’s Book and invite learners to share their initial thoughts. Record the most helpful of these on the board as a ‘Do/Don’t’ list.

Challenge: Push more confident writers to use all the techniques they have been learning about, but make sure they are not ‘over-writing’ – for example, using multiple adjectives where just one would do, or pairing every verb with a dramatic adverb when they would be better off spending more time choosing a suitable verb in the first place. (You can remind them about ‘sneaks’.)

End the session by asking learners to read out some of the parts of their stories that they are most pleased with. If these are parts they redrafted and improved, ask them to share their explanations for why they made those changes. Self-assessment: Give learners ten minutes to write (at the bottom of their story) their answers to the Reflection questions in the Learner’s Book. Teacher assessment: Collect and mark the re-drafted stories. Provide written comments in terms of the prompts in Activity 4.

•

Support: Write on the board some extra guidance for Activity 6, which is about the voice of the story. Use voice as a heading, and provide any prompts you think would be helpful. For example, you could note that the narrative is in the first person and that there is a variety of verb tenses.

Remind them again that professional writers go through the same difficulties of creating situations, developing characters and devising narrative structures.

•

Writing and improving (20 minutes)

Assessment ideas: Share ideas from the discussions as a class. You can assess how much learners have absorbed from the previous session about the ways writers use punctuation devices.

Homework idea Learners should complete Workbook Session 1.6 for homework.

PROJECT GUIDANCE

• is successful in the end. Tell learners to read the instructions in the Learner’s Book. They should begin with the ‘Start by’ prompts.

•

Explain to learners that they will need to do some research. As well as thinking about superhero books, comics and films they already know, they could research heroic figures from myths and legends in their own culture and other cultures – for example, ancient Roman heroes like Hercules.

Introduce the project by reminding learners of some of the features of adventure stories from Session 1.1. Remind them especially that adventure stories often feature a character who:

• • •

discovers that they have special skills or powers that they were previously unaware of decides to undertake a journey or a quest has to work through difficulties and dangers – some kind of test is involved is faced by an enemy and/or something/ someone evil

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