Preview Cambridge Primary English Teacher's Resource Book 6 by Cambridge International Education

CAMBRIDGE PRIMARY

English

TeacherĂ s Resource

Sally Burt and Debbie Ridgard

University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the Universityâ&#x20AC;&#x2122;s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. Information on this title: education.cambridge.org ÂŠ Cambridge University Press 2015 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2015 Printed in Poland by Opolgraf. A catalogue record for this publication is available from the British Library 978-1-107-64468-7 Paperback with CD-ROM Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Information regarding prices, travel timetables, and other factual information given in this work is correct at the time of first printing but the publishers do not guarantee the accuracy of such information thereafter. Cover artwork: Bill Bolton Learning objectives from the Cambridge Primary English 0844 curriculum framework, for use from 2011, are reproduced by permission of Cambridge International Examinations. notice to teachers The photocopy masters in this publication may be photocopied or distributed electronically free of charge for classroom use within the school or institution that purchased the publication. Worksheets and copies of them remain in the copyright of Cambridge University Press, and such copies may not be distributed or used in any way outside the purchasing institution.

Contents Introduction

Stage 6 Curriculum correlation

Unit 1 Different voices – different times

Unit 2 People in the news

Unit 3 Poems – old and new

Unit 4 Time passing

Unit 5 Poles apart

Unit 6 Words at play

Unit 7 A different medium

Unit 8 Make it happen

105

Unit 9 Snapshot

118

Photocopy masters (PCMs)

128

Learner’s Book 6 index

167

Spelling lists

168

Spelling activity answers

170

Contents 3

The Cambridge Primary English series The Cambridge Primary English series is a six-level, First Language English course covering and following the Cambridge Primary English curriculum framework from Cambridge International Examinations. The Cambridge Primary English course is intended to lead into the Cambridge Secondary 1 Curriculum by giving learners the skills and knowledge to confidently access the secondary curriculum. The full series consists of a suite of Learner’s Books, Teacher’s Resources (Book and CD-ROM) and write-in Activity Books for each of the six levels. Although the series is designed to be used as a suite, the Learner’s Book provides independent and coherent coverage of the curriculum framework.

Each unit provides an opportunity for progression through reading as a reader, reading as a writer and writing, so that learners can experience the journey to becoming literate, with the emphasis shifting from learning to read towards reading to learn. The text extracts selected for the course serve as language input and springboards for teaching and learning grammar and punctuation, phonics, spelling and the development of listening, speaking, reading and writing skills. However, texts should always be supplemented with local literature and non-fiction texts local to your region to add depth and context to the range of skills learners encounter through the Learner’s Book.

Learner’s Books

Spelling

The Stage 6 Learner’s Book is the last of six in the Cambridge Primary English series. Each Learner’s Book contains nine units: two long units and one shorter unit per 10-week term. Each long unit contains 12 teaching sessions and has been designed to be delivered over four weeks, with three lessons per week. The shorter units are intended to be delivered over two weeks with six teaching sessions in each. Since learners work at different speeds, some double sessions have been included to allow for differentiation of pace. The units are in groups of three (1–3, 4 –6, 7–9) and the units in each group may be taught in any order with progression being built in per term rather than unit by unit to add flexibility to the programme and to allow for more cross-curricular matching.

Main units In Stage 6 each unit contains a range of text types and genres included as extracts around a unifying theme. The texts have been carefully selected to include an appropriate balance of fiction, non-fiction, and poetry and plays, as well as to reflect the interests and diverse cultural backgrounds of the learners. Each lesson contains a selection of activities aimed at enabling the learners to acquire specific knowledge or skills across a wide range of text opportunities. Lessons incorporate both whole-class teaching led by the teacher, and small group or individual work so that learners can practise and apply their learning, with regular checks to self-assess their progress. The course aims for an approach that encourages learners to actively explore, investigate, understand, use and develop their knowledge of English and in particular their reading, writing, listening and speaking skills through the use of regular, guided group and paired work, independent group work and individual work. Discussion with a talk partner or in a small group forms an important part of the course, helping learners become more articulate and confident in expressing their opinions; it is also an important part of the embedding process and discovering that others do not always take the same approach or share opinions. 4

Cambridge Primary English Stage 6 Teacher’s Resource

The Learner’s Book contains three spelling spreads at the back of the book. These spelling spreads contain specific spelling rules and activities linked to the units across the three terms to be used at the teacher’s discretion. Some spelling activities may also appear in the units and the Teacher’s Resource notes will also indicate spelling opportunities (signposted with a spelling icon in the Learner’s Book). Ideally, at least one formal spelling session per week should be planned using either the spelling spreads or the spelling lists in the Teacher’s Resources that are provided for reinforcement of common spelling patterns and letter strings. Vocabulary development is closely linked to spelling but a spelling programme does not on its own guarantee vocabulary development. Each unit therefore introduces a set of words which will be used during the unit and would therefore be useful for the pupils to learn. Certain words are glossed in the chapters to clarify meaning immediately but at other times learners are encouraged to self-help by using dictionaries, thesauruses, whether print or ICT-based, and to reflect on the shades of meaning suggested in the contextual use of the word. Understanding that words can have multiple meanings or even multiple shades of meaning is important in many aspects of reading and writing, from advertising to poetry; in addition to which, the excitement of words and their power is a lifelong gift.

Features Each unit contains specific language input in the form of Language focus boxes to support teacher-led instruction emanating from text-based examples. These boxes allow learners to reference the input in their own time and internalise it as they work through the activities that provide opportunities to practise their skills. The language input is progressive and covers the curriculum framework over the year. Did you know? boxes draw learners’ attention to interesting facts or cross-curricular information to add depth to the learning environment and to make crosscurricular links where appropriate. The Tip box provides handy tips and reminders to guide the learners and to ask questions that challenge their thinking and interest.

The Duck mascot provides reminders and gives examples for learners to follow. Icons indicate when an activity involves discussion, writing, reading or paired/group work. While the icons are indicators of the mode of work envisaged, it is always at the teacher’s discretion to approach the activity from a different perspective, especially when implementing a differentiation strategy in the classroom. have a discussion do some reading do some writing role play, read out loud or do an oral activity do a spelling activity (from spelling spreads) In Stages 4 and 5, learners were encouraged to keep a reading log to track both their fiction and non-fiction reading. In Stage 6, learners are encouraged to extend their reading log into a learning journal to help them progress into the senior phase. The journal will include a log of what they have read, as in previous stages, together with their responses and opinions, but learners can also be encouraged to copy/paste extracts they have particularly enjoyed that demonstrate a particular skill or technique to refer to as a model as well as to include examples from other contexts and their own writing experiments, for example on character development, tense, narrative voice or perspective, so that the journal becomes a rounded learning journal. The journal can also be used as a differentiation tool in that learners can be encouraged to reflect on their reading and writing in a personal way and to pursue their own ideas in response to texts they have read. The journal can be extended to include anything relevant to their language life, for example a word bank of aspirational words gleaned from the course’s vocabulary extension or from their own research using a thesaurus or online word resource, a list of idiomatic phrases and proverbs, tips for making a speech or presentation that worked well for them. Some learners could be encouraged to research word origins and word families that interest them, while others may benefit from a section where they note down spelling strategies, rules and words that they find particularly useful. If the learning journal becomes part of their everyday language life, it has the potential to become a personalised resource for learners to develop independently to refer to or add to at any time, and recording both their individual goals and successes. Throughout the Learner’s Book learners encounter self-reflection How did I do? questions on particular activities. These self-assessment moments are designed to be specific to the activity rather than general questions. Similar questions could be written on the board by the teacher for activities which do not have the self-check element. The aim is to encourage learners to reflect on their progress and identify areas for themselves in which they are either achieving satisfactorily or wish to improve upon. This Teacher’s Resource and CD-ROM contains a series of specific photocopy masters aimed at slightly more formal assessment of learners against a series of success criteria

identified for the activity. These are explained in more detail below. At the end of the Learner’s Book, you will find a ‘Toolkit’ (a series of resources) for use by the learners. These include a range of reference and learning tools such as an editing checklist and a self-evaluation tool for reading aloud. These resources can be used throughout the programme and can be referenced by the teacher or the learners where appropriate. There are also tools and tips to guide group work, presentation skills and silent reading to support the teaching, the learning and the assessment process.

Activity Books The Activity Book accompanying each Learner’s Book includes supplementary and extension material mirroring and based on the content of the Learner’s Book so as to support: • the independent learning part of the teaching • the ‘practise and apply’ parts of some sessions • some personalisation activities • reinforcement of concepts introduced in the Learner’s Book • space for quiet focused work. The Activity Book content is not tied page by page to the Learner’s Book content, rather it follows the Learner’s Book unit by unit, so that each unit follows the same unifying theme. At times, the Activity Books include smaller extracts of texts included in the Learner’s Book if they are useful to repeat in the Activity Book. The Activity Books aim to cater for learners with a wide range of learning styles, which means they include a wide range of activities from somewhat mechanical (drill can still be an important learning tool for reinforcement and modelling) to a more open and creative approach, allowing for personalisation and differentiation. Tasks in the Activity Book are also intended to provide some familiarisation with the task types learners may encounter in the Cambridge Primary Progression Tests. The Activity Books are designed to be flexible and should be used in whichever way it suits the teacher and the class the best. In some cases it may be appropriate to use the Activity Books as class homework tasks or to allow certain learners to reinforce concepts at their own pace. Similarly a number of the activities can be used to stretch learners, allowing them more freedom of expression and creative space and to provide extension where the different pace of learners needs to be catered for. The answer keys to activities, where appropriate, are provided per unit following the notes on Learner’s Book activities.

Teacher’s Resources The teachers’ guidance notes in the Teacher’s Resources follow the pattern of the Learner’s Book, providing support for the teacher across each of the nine units, six long and three short. The notes cover material for three lessons per week (30–45 minutes per lesson) based on the Learner’s Book content, and include answer keys. Introduction

The unit-by-unit notes list what the teacher will need at the beginning of each session together with the primary learning objectives and outcomes for the session. Thereafter, it provides background and suggestions for how to approach the activities in the Learner’s Book and, when necessary, includes supplemental information and structuring. Each session assumes a mix of wholeclass teaching followed by group work (guided or independent), as well as a healthy mix of pair and/or individual work, following the review, teach, practise, and apply cycle. The Teacher’s Resources provide opportunities and suggest strategies for differentiated learning throughout as well as opportunities for both formal and informal assessment. A summary of the curriculum framework coverage is provided in the grid on pages 8–10. The speaking and listening element of the curriculum framework is covered in part through specific activities but also through ongoing activities throughout the course. While the speaking and listening activities are not formally assessed, opportunities for informal assessment are suggested in the Teacher’s Resources. Three to four additional activities are provided in the form of photocopy masters (PCMs) for each unit with accompanying notes. Some PCMs focus on specific assessment opportunities of writing activities in relation to success criteria. The aim is for these PCMs to be part of the activity and to engage the learners in developing their own appropriate success criteria so that they are aware from the outset what is being looked for and how they will be assessed. As a result, the PCMs include self-reflection from the learners on their progress as well as a review by the teacher. The remaining PCMs provide opportunities for consolidation, extension or differentiation for certain of the activities in the Learner’s Book. Because success criteria are considered to be a vital part of learners becoming independently engaged in their learning process, certain generic PCMs have been included to allow teachers to develop success criteria for a wide range of other activities throughout the Learner’s Book. In recognition of this, where appropriate, session notes contain suggestions for possible success criteria that can be negotiated with the learners to allow them some input into where they will focus their efforts and how activities are assessed. However, success criteria are not just about assessment; they are about providing goals for learners to aspire to in their personal learning journeys. Some PCMs are ‘generic’ and can be used with any unit, others are specific to particular units or activities. The table accompanying the PCMs clarifies which are generic and which are specific to particular units (see page 128). An index to the Language focus boxes in the Learner’s Book is provided as a photocopiable resource for the learners’ use. Each unit is supplemented with suggestions on how to use the Activity Book, with answer keys to these activities following the notes and answer keys to the Learner’s Book.

Cambridge Primary English Stage 6 Teacher’s Resource

The CD-ROM at the back of this Teacher’s Resource includes PDFs of the Teacher’s Resource content for printing and reference.

Teaching phonics, spelling and vocabulary Spelling spreads Spelling and vocabulary is an integral part of an English programme. A teacher who is disciplined about focusing on spelling at the right moment and in the right context is well on the way to having better spellers with an increased vocabulary. As mentioned, pages 156–164 of the Learner’s Book contain three spelling spreads, one for every three units, providing a selection of rules and spelling activities linked to the units. The spreads are placed at the back of the book to give the teacher flexibility on when and how to do specific spelling teaching and practice – whether as a class activity or as a differentiated work opportunity. In addition, the Teacher’s Resource notes for each unit make suggestions for when and how to approach specific spelling and word knowledge activities, providing the opportunity to work with the words and rules in context. The activities aim to reinforce a particular spelling rule or pattern and address some of the basic reasons why children struggle to spell: • the language itself being confusing – quay sounding like key, or present being a noun or a verb • pronunciation – sounding the words incorrectly • confusing words that look similar – weak visual perception • ignorance of root words or how to break down syllables and parts of words. By actively focusing the learners’ attention on activities and useful rules in the context of the lesson, this course aims to improve the average spelling age in your classroom. A spelling programme should take into account the following: • Acquiring a new word is a process: the word is recognised, spelling is learned, meaning and use are understood and the word is used in context. • A learner’s ability to spell grows through practice and analysis. Working with words and working out how and why letters are placed together, helps learners understand, internalise and apply the rules to other words and in other contexts. • A learner’s ability to spell requires them to recognise the sounds that make up a word and translate them into the written form. Spelling progresses when there is an understanding of the association between the sounds and the symbols. By Stage 6, ‘sight’ words (words acquired by sight and not by rules, e.g. the Dolch sight list) should have been acquired, although frequent reminders and displays are still valuable. Although the spelling spreads are designed primarily to be teacher-mediated, there is no reason why learners should not be encouraged to refer to them

independently if they feel the need to do so and know where to find the spelling support they want.

Spelling lists The spelling lists on pages 168–169 of this Teacher’s Resource are a supplement to the spelling spreads at the back of the Learner’s Book. Notes on how to use the spelling lists are also provided on page 168.

Teaching spelling in the classroom Many approaches to how spelling should be taught in the classroom have been developed and continue to be developed. It is difficult to be too rigid about this; much depends on teacher commitment and the emphasis on spelling in the school as a whole. It is also dependent on the level of the class and how many learners are operating with English as their first language or as the primary language spoken in the home. Ideally, spelling should be addressed on a daily basis and in the context of the lesson. Embedded throughout the notes are Spelling links, these are intended to suggest opportunities at which the indicated spelling areas can be looked at in greater detail. A time should be set aside regularly for specific spelling activities, e.g. to focus on a word, analyse it, group it with other words with the same spelling pattern and then add it to a spelling dictionary or index book. None of this need take up a lot of time but it does require a teacher to be constantly on the look-out for opportunities to look at spelling. If possible, a formal spelling lesson should take place once a week where rules are taught and learners are given a chance to practise the rule and use it. The formal lesson should focus on a specific sound or rule the teacher feels is relevant to the class and the context.

A suggested spelling session format • SAY the word and SEE the word. Introduce words both orally and visually so the learners see each word and hear the sound simultaneously to develop auditory perception. Use flashcards, words appearing on a screen or written on the board. • PLAY with the word. Learners write it in the air or on their desk with a finger, mime it to a partner, write it on a slate or paper and hold it up, do visual memory activities with a partner: look at a word, close eyes and spell it. These activities provide immediate feedback and develop visual memory. Clap the sounds to demonstrate how the word is broken into syllables. Let the learners find their own associations to help them remember words, e.g. ear in hear or ache in headache. • ANALYSE the word. Spelling rules can be helpful here to explain how words are built up, why letters move, how sounds change from one word to another and how patterns fit into words. • USE the word – make up sentences. Activities are provided in the Learner’s Book but you can add to these by playing spelling games. Younger learners enjoy spelling Snap or Bingo!; older learners might

enjoy a spelling challenge/ladder or a competition that involves winners. • LEARN the word. Learners commit the word to memory while writing it out in a word book or personal spelling notebook. Tests or assessments need not be repetitive weekly activities but learners do need incentive to internalise the spelling of words and to see they are making progress.

Practical ideas for the classroom Words and spellings need to be highlighted and enriched at every opportunity in the classroom. • Encourage personal word books or cards: include words covered in spelling sessions and ones learners look up in the dictionary. Suggest learners develop a bank of words they would like to use (especially powerful, descriptive or unusual words); these could be noted at the back of the learning journal or on a set of cards. Word meanings can also be included. Some learners may benefit by using colours or underlining/ highlighting to identify tricky bits or root words. • Create a classroom display of aspirational words or themed words around a topic (any learning area). • Include plenty of spelling resources – dictionaries, thesauruses, etc. • Set up spelling buddies as a first line of check if a dictionary or thesaurus does not help. • Play word games such as word dominoes, or phonic pairs on a set of cards as a memory game. • Highlight and discuss word origins and have a merit system for anyone with interesting words or word information to share. • Display lists of words with similar sounds or letter patterns (either at the start, middle or end) – write the words large in the handwriting taught at the school (joined up if appropriate) to stimulate visual and kinaesthetic knowledge. • Have an interactive word list of interesting words, or words that match a spelling rule or word pattern being focused on. Add to it when anyone comes across a relevant word. • Consider an alphabet of vowel sounds and consonant sounds as a display or frieze around the walls. • If handwriting lessons are timetabled, add word patterns and sounds into those sessions. • Research free web resources to create your own crosswords and word searches linked to vocabulary in themes and spelling rules you are working on. Finally, a note on handwriting practice. This series encourages best practice in handwriting but does not teach it explicitly. We recommend using the Cambridge Penpals for Handwriting series alongside Cambridge Primary English. Spelling may be a challenge but it does not have to be dull. Spelling can be fun if you make it that way! We hope you enjoy teaching the course and that it will help your learners to feel confident about responding to and using English in a variety of ways. Sally Burt and Debbie Ridgard Introduction

Stage 6 Curriculum correlation Cambridge Primary English 0844 curriculum, for use from 2011 Unit 1 Unit 2 Unit 3 Unit 4 Unit 5 Unit 6 Unit 7 Unit 8 Unit 9 Spelling spreads

Phonics, spelling and vocabulary 6PSV1

Learn word endings with different spellings but the same pronunciation, e.g. tion, cian, sion, ssion; ance, ence.

6PSV2

Confirm correct choices when representing consonants, e.g. ck/k/ke/ que/ch; ch/tch; j/dj/dje.

✓

6PSV3

Continue to learn words, apply patterns and improve accuracy in spelling.

✓

6PSV4

Further investigate spelling rules and exceptions, including representing unstressed vowels.

✓

6PSV6

Develop knowledge of word roots, prefixes and suffixes, including recognising variations, e.g. im, in, ir, il; ad, ap, af, al and knowing when to use double consonants.

✓

6PSV6

Know how to transform meaning with prefixes and suffixes.

✓

6PSV7

Investigate meanings and spellings of connectives.

✓

6PSV8

Explore definitions and shades of meaning and use new words in context.

✓

6PSV9

Explore word origins and derivations and the use of words from other languages.

✓

6PSV 10 Understand changes over time in words and expressions and their use. 6PSV 11 Explore proverbs, sayings and figurative expressions.

✓

✓ ✓

✓

✓ ✓

✓

Grammar and punctuation: Reading 6GPr1

Identify uses of the colon, semicolon, parenthetic commas, dashes and brackets.

✓

6GPr2

Revise different word classes.

✓

6GPr3

Investigate the use of conditionals, e.g. to express possibility.

✓

6GPr4

Begin to show awareness of the impact of writers’ choices of sentence length and structure.

✓

6GPr6

Revise language conventions and grammatical features of different types of text.

✓

6GPr7

Explore use of active and passive verbs within a sentence.

6GPr8

Understand the conventions of standard English usage in different forms of writing.

✓

6GPr9

Distinguish the main clause and other clauses in a complex sentence.

✓

✓ ✓

✓

Grammar and punctuation: Writing 6GPw1

Punctuate speech and use apostrophes accurately.

✓

6GPw2

Use a wider range of connectives to clarify relationships ideas, e.g. however, therefore, although.

✓

6GPw3

Use connectives to structure an argument or discussion.

✓

Cambridge Primary English Stage 6 Teacher’s Resource

✓

Unit 1 Unit 2 Unit 3 Unit 4 Unit 5 Unit 6 Unit 7 Unit 8 Unit 9 Spelling spreads 6GPw4

Develop grammatical control of complex sentences, manipulating them for effect.

✓

6GPw5

Develop increasing accuracy in using punctuation effectively to mark out the meaning in complex sentences.

✓

Reading: Fiction & poetry 6Rf 1

Develop familiarity with the work of established authors and poets, identifying features which are common to more than one text.

✓

6Rf 2

Consider how the author manipulates the reaction of the reader, e.g. how characters and settings are presented.

✓

6Rf 3

Look for implicit meanings, and make plausible inferences based on more than one point in the text.

✓

6Rf 4

Understand aspects of narrative structure, e.g. the handling of time.

✓

6Rf 6

Analyse the success of writing in evoking particular moods, e.g. suspense.

✓

6Rf 6

Paraphrase explicit meanings based on information at more than one point in the text.

6Rf 7

✓

✓ ✓

✓

Comment on writer’s use of language, demonstrating awareness of its impact on the reader.

✓

6Rf 8

Begin to develop awareness that the context for which the writer is writing and the context in which the reader is reading can impact on how the text is understood.

✓

6Rf 9

Take account of viewpoint in a novel, and distinguish voice of author from that of narrator.

✓

6Rf 10

Discuss and express preferences in terms of language, style and themes.

✓

6Rf 11

Articulate personal responses to reading, with close reference to the text.

✓

6Rf 12

Explore how poets manipulate and play with words and their sounds.

✓

6Rf 13

Read and interpret poems in which meanings are implied or multilayered.

✓

Reading: Non-fiction 6RNF1

Analyse how paragraphs and chapters are structured and linked.

✓

6RNF2

Recognise key characteristics of a range of non-fiction text types.

✓

6RNF3

Explore autobiography and biography, and first and third person narration.

✓

6RNF4

Identify features of balanced written arguments.

✓

6RNF6

Compare the language, style and impact of a range of non-fiction writing.

✓

6RNF6

Distinguish between fact and opinion in a range of texts and other media.

✓

✓ ✓

✓

Writing: Fiction 6Wf 1

Plan plot, characters and structure effectively in writing an extended story.

✓

Introduction

Unit 1 Unit 2 Unit 3 Unit 4 Unit 5 Unit 6 Unit 7 Unit 8 Unit 9 Spelling spreads 6Wf 2

Manage the development of an idea throughout a piece of writing, e.g. link the end to the beginning.

✓

6Wf3

Establish and maintain a clear viewpoint, with some elaboration of personal voice.

✓

6Wf4

Use different genres as models for writing.

✓

6Wf5

Use paragraphs, sequencing and linking them appropriately to support overall development of the text.

✓

6Wf6

Use a range of devices to support cohesion within paragraphs.

✓

6Wf7

Develop some imaginative detail through careful use of vocabulary and style.

✓

✓ ✓

✓

Writing: Non-fiction 6WNF1 Use the styles and conventions of journalism to write reports on events.

✓

6WNF2 Adapt the conventions of the text type for a particular purpose.

✓

6WNF3 Select appropriate non-fiction style and form to suit specific purposes.

✓

6WNF4 Write non-chronological reports linked to work in other subjects.

✓

6WNF5 Develop skills of writing biography and autobiography in role.

✓

6WNF6 Argue a case in writing, developing points logically and convincingly.

✓

6WNF7 Write a balanced report of a controversial issue.

✓

6WNF8 Summarise a passage, chapter or text in a given number of words.

✓

Writing: Presentation 6WP1

Use ICT effectively to prepare and present writing for publication.

Speaking and listening 6S&L 1

Express and explain ideas clearly, making meaning explicit.

6S&L 2

Use spoken language well to persuade, instruct or make a case, e.g. in a debate.

6S&L 3

Vary vocabulary, expression and tone of voice to engage the listener and suit the audience, purpose and context.

6S&L 4

Structure talk to aid a listener’s understanding and engagement.

6S&L 6

Speak confidently in formal and informal contexts.

✓

6S&L 6

Pay close attention in discussion to what others say, asking and answering questions to introduce new ideas.

✓

6S&L 7

Help to move group discussion forward, e.g. by clarifying, summarising.

6S&L 8

Prepare, practise and improve a spoken presentation or performance.

✓

6S&L 9

Convey ideas about characters in drama in different roles and scenarios through deliberate choice of speech, gesture and movement.

✓

6S&L 10 Reflect on variations in speech, and appropriate use of standard English.

✓

✓ ✓

✓

Cambridge Primary English Stage 6 Teacher’s Resource

✓

Different voices – different times

Unit overview This four-week unit introduces the concept of a prologue as a writer’s tool to foreshadow events in a story using an omniscient third person narrator. The style and content of the prologue is compared with the main story narrative and dialogue. The second extract is a short story describing a single set of events from three different perspectives during a single time period. Learners experiment with characterisation through writing and role play. Finally, a listening text introduces the concept of a flashback to extend understanding of different possibilities for handling time in a story. Learners also revise word classes, dialogue, phrases and sentences. Since learners work at different speeds, one double session has been allocated in this unit to allow for differentiation of pace.

Aims and objectives By the end of this unit, learners will be able to: • understand the purpose of a prologue and the flashback technique • define mood and how it is created • recognise writers’ choices and narrative techniques • comment on dialogue and characterisation • identify perspective and point of view • identify language style in how we express ourselves.

Skills development During the course of this unit, learners will: • revise sentences and phrases • revise basic word classes and the articles • investigate word order • read with expression in groups • write and punctuate dialogue • infer sequences of events • identify Standard and colloquial English • listen for detail • write a flashback narrative.

Prior learning This unit assumes that learners can already: • define the different word classes (parts of speech) • identify first and third person narrative • punctuate basic dialogue.

Different voices – different times

Session 1: What is a prologue? Learner’s Book pages: 6–8 Activity Book pages: 4–6

You will need: dictionaries. Nice to have: examples of stories with prologues and plays (including plain language versions of Shakespeare’s plays beginning with a prologue); magazines and encyclopaedias with images of rivers and riverbanks around the world; PCMs 1 and 2. ICT opportunity: many films begin with the equivalent of a prologue, if possible find an example to show, e.g. Indiana Jones – Raiders of the Lost Ark.

• Encourage discussion around whether the first paragraph is attention-grabbing. Explore how this minor flashback to the moment that the narrator has pinpointed as the start of things, is a technique foreshadowing the type of story it is likely to be – in this case one where events clearly go wrong. Answers: 1 Learners’ own answers. 2 a Images of music related to the piano – notes, jangled, unstrung, etc. b Sad and reflective – accept any sensible answer. c The narrator is looking back, which is clear from the use of the past tense and the use of the if clause followed by as it was. d Learners’ own answers.

Learning objectives Learning intentions • to identify a prologue and the different roles it can play in a novel or a play as well as its origin • to read and review an example of a prologue to identify its features • to start a reading and writing journal for the year. Learning outcomes Learners can: • understand and explain the role of a prologue • recognise the purpose the prologue in the extract, identifying key features • understand that the prologue is at a separate ‘time’ to the main story • explain the word origin of prologue, identifying the prefix.

Read the first paragraph

• To set the scene for this session, encourage learners to use their reading books as this activity will not only focus on how to begin a story, but will remind learners of some key story features such as the need to grab the reader’s attention in the opening and introduce the setting, main characters and so on. Encourage discussion in small groups before asking volunteers to read out their book’s opening paragraph and say what they think it reveals. • The opening paragraph from the novel The Middle Of Nowhere by Geraldine McCaughrean is an extremely figurative piece stemming from the opening sentence. The novel is a story set in the Australian outback during the 1950s/60s. Incongruously a piano is delivered at the remote telegraph station at a very difficult time for the family. Encourage learners to notice the play on words relating to music (a sweet note, jangled, unstrung, etc.) suggesting that things could have gone well but in fact turned out badly. The mood is reflective and sad, with the narrator looking back. Although if clauses are covered later in the year, it is a nice opportunity to point out an if clause and how it can be used when looking back to suggest how things could have been different.

Unit 1 Different voices – different times

Read and talk about a prologue

• Discuss the Language focus box on the origin of the word prologue. Discuss the ancient Greek script and explain that the ancient Greek alphabet was different from modern Greek although there are similarities. • During the class discussion about prologues, explain that as well as the word coming from ancient Greek, the ancient Greeks developed the concept of a prologue – really for plays, as they did not write novels at that time. The prologue was often performed by the chorus and had a strong foreshadowing quality, hinting especially at bad things or tragedy to come. • Encourage learners to use the Booktalk feature on page 175 for a definition of a prologue and to discover more about the various elements of books. Explain that while a prologue is part of the story, a preface, written by the author, is not. A preface explains how the book came to be written and often acknowledges important people in the writing. A preface is more common in non-fiction, whereas a prologue is strictly a fiction device. Learners will also find a definition of a foreword in the Booktalk feature and if appropriate, can discuss where they might find one and why it might be more common in non-fiction. • Many of the fiction units in this stage demonstrate how writers manage the concept of time – going backwards or forwards in time, using flashbacks (mini ones as in the opening extract in Activity A, or more major ones involving significant portions of the book either interspersed with the main story, or making up the main story), time slips, looking back and foreshadowing – as in the prologue from The River Singers. Encourage discussion about time in books. Link that story narrative is generally written in the past tense, implying some form of looking back on events that have already occurred in contrast to dialogue, which represents words exactly as they were spoken at the time. • The River Singers follows a group of water voles, small shrew-like mammals that live on leafy riverbanks. Destruction of the natural environment is an important world issue and this story has the environmental background of human development

slowly destroying the natural river habitat of the water voles, forcing them to move upstream to find a new home. The author is a committed ecologist at Oxford University’s Zoology department. • Learners in some regions may not be familiar with the type of river environment described in the novel. If possible, help them to visualise the setting using nature books, or pictures online or in magazines of leafy riverbanks and associated wildlife. Check whether learners have learned about rivers in geography and try to coordinate a cross-curricular effort when studying this unit. Pictures of water voles, foxes, herons and weasels would also be useful, although you might want to make them available only after the learners have begun to discuss the prologue. • Check the class’s understanding both of the content of the prologue and any unfamiliar vocabulary, for example burrow, colonies, weasel, heron, fox or the idea of males scenting the breeze for danger. • Invite predictions of what learners think the story is about, who they think the Folk might be and who the River Singers are since the prologue does not clarify what sort of animal the story is about; potentially, less able readers may not pick up at this point that the main characters are animals rather than humans. Answers: 1 Before the main story. 2–3 Learners’ own answers.

Start a learning journal

• Learners are encouraged to maintain a record of their reading, but by Stage 6 it should be more of a journal, expanded to become a personal record of each learner’s development as a reader and as a writer. More extensive ideas are suggested on page 168 for how learners might want to use their journals. The main aim is to encourage creativity and to help learners enjoy reading as writers and noting techniques writers use from sentence structure to imagery or even more extensive devices such as prologues, flashbacks, etc. If you are using the PCMs, you could use PCM 1 Learning journal at this point. • You may not want to be too prescriptive about how learners use their journals and some level of differentiation might be appropriate. Encourage them to do more than write a mechanical list of titles and a simple comment. Model how they might choose words they particularly like, how to copy into their journal an extract with a comment explaining a particular technique or use of language that they would like to use in their own writing, or other examples from magazines and books to make a comparison of the use of techniques. They can also draw their impressions of characters or stick in images from magazines to make it a more multimedia journal. • Ideally, time should be allocated each week to writing and talking about their journals either in pairs or in groups, or even as a class. Consider reviewing journals on a regular basis to make encouraging

comments or suggestions but not to criticise. Regularly encourage volunteers to read from their journals, for example predictions about storylines, reactions to characters or small extracts that they enjoyed and want to talk about. Differentiation: • More able readers can be encouraged to look up unfamiliar vocabulary independently. You can sit with selected groups of learners, read the prologue with them and discuss vocabulary to ensure understanding. • Set different levels of expectation around the journals. Encourage more able learners to write independently in their journals without being prompted. Find time to talk about what each learner is writing on a oneto-one basis. Assessment opportunities • Use the session, especially if it is the first session of the year, to assess which learners settle well to tasks and which appear to need guidance. Make informal notes on which learners participate regularly in discussion and ask questions either with a talk partner or as a class, and which learners need to be encouraged or given more opportunity to express themselves. Make a note also of learners who struggle to listen to instructions or to talk partners. If you are using the PCMs, use PCM 2 Personal goals at this point to set personal goals with each learner which you can revisit during and at the end of the year. Activity Book A Understanding the meaning of prefixes gives clues on the meaning of new words. Encourage learners to note prefix meanings and origins in their learning journal. B Encourage learners to predict meanings without a dictionary first, then use one to check. C As extension, learners look up prefixes to check meaning and match them to form words. Answers: A 1 a 3; b 2; c 3; d 4; e 1 2 Learners’ own answers. B 1 antibody; 2 Antarctic; 3 antisocial; 4 anti-climax; 5 antibiotic; 6 antifreeze; 7 antithesis; 8 antiseptic; 9 antidote; 10 anticlockwise. C 1–2 Possible answers: overcast– on top of/covering; infrastructure – below; perimeter – round, about; postpone – after in time; octagon – eight; hyperactive – beyond, more than normal; prepare – before in time; exclude – out; submerge – under; synchronise – in union, together.

Session 1 What is a prologue?

Session 2: Delve into detail Learner’s Book pages: 8–10 Activity Book pages: 6–8

Nice to have: etymological dictionary; extracts of Martin Luther King’s I have a dream speech. ICT opportunity: online etymological dictionary, e.g. http://www.etymonline.com/ Spelling link: prefixes, word origins and root words.

Learning objectives Learning intentions • to introduce the idea of foreshadowing • to study the mood of the prologue and how it is created • to infer from clues in a text • to understand how to decode a word with foreign word origins, introducing an etymological dictionary. Learning outcomes Learners can: • identify and talk about the role of the prologue • infer from clues in the text to make sensible predictions about the story • begin to use an etymological dictionary to identify prefixes and word roots to help decode meaning and spelling of words from their origins.

Looking for clues in the prologue

• Before the learners start the activity, review what they remember of the prologue and the previous discussion, particularly that the setting is a riverbank and the main characters are water voles – they will need to associate the water voles with the Folk in the activity. • Focus on the role of the prologue and what clues can be picked up that foreshadow events to come. Learners should find evidence in the text for their responses, especially from more than one place; you may wish to model an answer in question 1a. The question is leading in that it assumes that the characters are not human – evidence from the text could include news spreading from burrow to burrow; natural enemies being foxes, herons and weasels; males scenting the air and straying into the open; Sylvan and the others nestled in their chamber knowing nothing of the outside and so on. • Encourage learners to notice the mood of this prologue. Many prologues are sombre, hinting at difficulties to come. This prologue creates a sense of foreboding, hinting at menace and bad things that have already happened, albeit through rumour – the horror comes in the night (machinery), the River stripped bare of her people (animal homes destroyed, possibly animals too), entire colonies gone – it told of the end of their world.

Unit 1 Different voices – different times

• Encourage learners to work with a talk partner initially. If appropriate, ask them to write their answers in their notebooks as a differentiation or assessment opportunity. Answers: 1 Possible answers: a Burrows; foxes, herons and weasels as natural enemies; males scenting the air; Sylvan nestled in the chamber knowing nothing of the outside. b The Folk are the main characters – the water voles. c–d Learners’ own answers. e Foxes, weasels and herons – they have always been predators of water voles. f Yes, e.g. mothers looking after young more carefully and sleeping more lightly, and males smelling for danger more carefully before going out. g Because they are babies and they have not yet been out of the burrow and so would not have heard the rumours. h … that the rumours are true and that the water voles’ way of life is about to change if they are to survive. 2–3 Learners’ own answers. 4 Option 3 – an all-knowing narrator 5 Learners’ own answers.

Decoding ancient Greek words

• Many English words have foreign origins, especially ancient Greek, Latin and French. Discuss familiar words in your region with non-English origins (e.g. frankfurter, baguette, pasta) that have been adopted into English. Explain that the ancient Greek civilisation was followed by the Roman civilisation and that they shared many things and adopted many words. In addition Britain was conquered first by the Romans and then by the French, thus many foreign words made their way into the English language. • Discuss how the words pro and logos come together and have changed over time to become the English word prologue. Page 169 has an example of a word from an etymological dictionary definition for autobiography which is a conjunction of several words derived from ancient Greek. Use it as another example of parts of a word coming together like a jigsaw puzzle. If you have access, encourage learners to explore word origins using an online etymological dictionary. • Many prefixes especially have Latin or Greek origins. Pro may confuse if learners are more familiar with its meaning for from contexts such as the pros and cons of an argument. You could ask if learners are pro or anti homework as another contrast of prefixes.

Spelling link If you have an etymological dictionary available, this would be a good opportunity to show it to learners so that they get used to the idea of breaking words into parts to see if there are any familiar parts from other words, especially suffixes or word roots – for example in this case pro (in this context meaning before – although if can also mean for), and words related to logos such as logic and ology words. Familiarity will assist with spelling and also meaning recognition.

Discuss other common prefixes that mean before and after: pre, post, ante, etc. Build a list of root words and word families on the board or wall display, e.g. logic, logical, logically. Point out the hard g sound created at the end of the word and ask what makes it a hard g sound (the u before the e) to revise the soft/hard g and c sound. There are more activities on prefixes, word origins and root words in the Spelling section on page 157 of the Learner’s Book.

C 1 Learners’ own answers. D 1 a philosopher; b philately; c philanthropists; d bibliophiles; e philharmonic.

Session 3: Focus on technique Learner’s Book pages: 10–11 Activity Book pages: 9–11

You will need: dictionaries. Answers: Possible answers: 1 a Favouring or in support of; order (place). 2 Learners’ own answers.

Learning objectives b Before in time, place or

Differentiation: • Consider talk partners as a differentiation possibility. If you pair more able learners, you can encourage them to write answers after talking; work with small groups to talk through answers before they write in notebooks. Consider some learners working orally only. Assessment opportunities • If learners write the answers in their notebooks, Activity A can be used to assess their comprehension of the prologue content, its purpose and position in the story. Activity Book A Learners work with word roots from other languages and practise using etymological dictionaries. If you have time, explore words with similar roots to those in the wordsearch and bibliophobia: library, Bible, bibliography, etc. B If you do not have an etymological dictionary in the classroom, learners could consult an online research tool such as http://www.etymonline.com/. Encourage them to form a habit of looking up words in various dictionaries to find out more about how words developed in English. C Encourage learners to predict the right words before checking in a dictionary. Point out the word bibliophile as another example of the biblio root. Answers: A 1 a An irrational or extreme fear of something; b noun; c 1786; d Came into English possibly by the French word phobie, but originally from the ancient Greek suffix phobia from phobos meaning fear, panic fear or terror. B 2 Learners’ own answers. 3 graphophobia – fear of writing; verbophobia – fear of words; bibliophobia – fear of books; apiophobia – fear of bees; zoophobia – fear of animals; octophobia – fear of the number 8; siderophobia – fear of stars; claustrophobia – fear of small or enclosed spaces; frigophobia – fear of the cold; arithmophobia – fear of numbers; carnophobia – fear of meat; ablutophobia – fear of washing.

Learning intentions • to introduce an omniscient third person narrator • to compare narrative styles • to discuss author inspiration and the possible convergence of author voice and narrator • to analyse repetition as a technique to create mood or effect • to identify tense and other stylistic effects such as the use of unusual proper nouns for effect. Learning outcomes Learners can: • tell the difference between a third person narrator and an omniscient third person narrator • appreciate that some authors write about subjects they are passionate about and allow their voice to converge with that of the narrator • notice repetition, third person narrative, tense and other techniques to create mood and effect.

Identify narrative voice

• The prologue narrator is a third person omniscient narrator; the narrator seems to know all about what will happen, what has happened and seems to exist out of the time of the story, whereas normal third person narrative is set within the story as it unfolds. Learners will pick up a very different narrative style in the book itself because in the story the narrator does not give clues about things to come. The concept of the omniscient third person narrator in a prologue goes back to Greek plays where the prologue quite often overtly foreshadows events to come, as is also the case in a number of Shakespeare’s plays where characters foreshadow events to come. • Encourage learners to discuss the narrative voice and find clues that show it is third person, before reverting to a class discussion to revise first and third person narrative. Say a few sentences about what you did when you arrived at school – I parked my car … , I went into the staffroom … , etc., and then ask a volunteer to retell what you did in the third person. Ask the learners to point out the differences in how the story is told as first person compared with third, e.g. help learners identify personal pronouns as key indicators of first person

Session 3 Focus on technique

narrative (I, we, my, our, me, us), and highlight how these pronouns only appear in third person narrative within the dialogue. • Discuss other differences in narrative voice with the class, for example that the use of a first person narrator inevitably puts the reader inside that character’s head and often makes that character a main character; the reader tends to empathise with that character as the author intends. A third person narrative presents a more balanced story not necessarily told from any person’s point of view although there can still be bias towards the main character. Third person narrative also allows the story to be told in locations where the narrator is not present.

Answers:

Answers: 1 Possible answers: no first person personal pronouns; no character identified as the storyteller. 2 Omniscient third person narrator – accept any sensible clues.

1 Rumours – accept any sensible reason. 2–3 Learners’ own answers.

D Author’s inspiration

• An author biography or preface can often suggest what inspires the author to write about a particular subject. In this case, the author is a committed ecologist with a strong interest in how natural ecosystems collapse or reinvent themselves when they are destroyed or encroached upon, particularly by human activity. • It may take some targeted questions for the learners to start thinking about connections between the author’s personal interests and the novel. The illustrations are intended to imply that the author has collected newspaper headlines that indicate an interest in the environment, which should help them make the inference. In this case there is quite a strong correlation between the narrator’s voice and what the author is interested in. The tone of the prologue suggests that the author is concerned about the destruction of the natural environment and the consequences for the animals, fish and birds in the ecosystem. Learners will recognise from their own experience that it is easier to write about something convincingly if you have an interest in it. • It is an interesting question for the learners to consider – should authors make their views known through fiction? Fiction, like films, can be very persuasive. Encourage learners to be aware that not all fiction has no basis in reality. For example, historical novels can allow readers to see human motivation in what would otherwise be rather dry facts and dates. This novel is not explicitly judgmental about the impact of human activity on natural habitats, but does give readers a new perspective on the issue. • Encourage learners to express their opinions in groups or as a class activity. Remind them to focus and listen when someone else is speaking, before formulating a response. Answers: 1–3 Learners’ own answers.

Repetition for effect

• The repetition of the word rumour is unsettling because it indicates that the animals were aware of something but had no real knowledge of what was happening. The insistent repetition also suggests that the rumours have some foundation. • Many famous world speeches use repetition for effect, e.g. Martin Luther King’s speech I have a dream. You could consider reading learners some extracts from this speech. • In the final paragraph, repetition of the sentence starters, They knew ... , contrasts with But one day they would learn … to add to the foreboding atmosphere and mood.

Unit 1 Different voices – different times

Focus on tense

• Learners should recognise by now that narrative is normally written in the past tense. If it is not in the past tense (excepting dialogue), it is a deliberate choice of the author and has been done for effect. Most of the prologue is in the past tense as if the narrator is looking back on events but at the very end of the prologue the tense shifts into the conditional and the present tense. Would and could imply something that might happen. • Supplementary teacher information: There is no need to go into much detail about the conditional verbs but encourage learners to notice them and to suggest other verbs that imply possibility: could, would, should, might, can. They are known as modal auxiliary verbs and they are easily recognisable because they have no infinitive form and no tense of their own and always accompany another verb. • Encourage learners to add the modal verbs (without having to call them such) to their journals as useful words for implying possibility. They will work with conditional if clauses more formally in later units. Answers: 1 Past tense. Because stories usually recount events that have already happened. 2 In the last two sentences it changes to the conditional (would, could) – accept any sensible answers.

Identifying proper nouns

• As part of your general revision of word classes, or parts of speech (whichever terminology is most familiar in your region) briefly revise the four types of noun: common, proper, abstract and collective. Encourage learners to suggest examples of each. Point out that the prologue refers to colonies; the collective noun for water voles is colony. Encourage use of dictionaries if required. • Ask learners after the activity whether they think the name of the River was really Great River or whether it has another name. Encourage them to suggest reasons why Great River and Folk are written as proper nouns

when folk and great river would normally not be considered proper nouns. Do learners agree that it adds to the mysterious style of the prologue to talk about the Folk and the Great River? Answers: 1 Common noun. 2 Learners’ own answers. 3 Because it is referring to the water voles and probably all other river animals, i.e. defining them as a specific group rather than a general group. 4 Great River – it is being used to refer to the river as if Great River was its actual name.

Differentiation: • Use the session as an opportunity to work with small groups to confirm their understanding of narrative voice and in particular the concept of an omniscient third person narrator as some learners may find this difficult. You can follow up on this when they do further work on an extract from the main story where the narrator’s voice is quite different. Assessment opportunities • Use the session to informally assess learners’ understanding of word class and their grasp of writing techniques i.e. that writers deliberately make choices for particular effects on characters, settings and storylines. You could take in learners’ journals to check understanding of the omniscient third person narrator and the use of repetition and tense change as techniques, before they write a prologue in the next session. Activity Book A Remind learners that certain words may be a common noun or a proper noun depending on the context. Many of the birds have more than one collective noun so learners can choose the one that they prefer. If there is time, play a class game to invent collective nouns for regular classroom items, such as pencils, desks and so on. Encourage them to focus on a particular feature of the noun; include alliteration if appropriate. Some children struggle with abstract nouns; usually, those who are still developing and have not fully reached the capacity for abstract thought. Ensure that they do not confuse abstract nouns and their related adjectives – happiness (n.) – happy (adj.). B Point out that the way in which proper adjectives are formed from proper nouns is not always the same although there are some common patterns, e.g. ian, ic, ese, ish. Other examples to use include Spain – Spanish, Hispanic, Japan – Japanese, Argentina – Argentinian, Morocco – Moroccan, Thailand – Thai, England – English, Norway – Norwegian, Sweden – Swedish, Denmark – Danish, Iceland – Icelandic. Make sure learners know the correct proper adjectives relating to your region and country. Answers: A 1 Proper; common; abstract, collective. 2 They take a capital letter.

3 a proper; b common. 4 Possible answers: Road in a is part of the name of the road so it is a proper noun. In b road is an ordinary common noun. 5 flamingos – flamboyance; penguins – colony, huddle; hummingbirds – charm, glittering, shimmer, tune, bouquet; starlings – chattering, affliction, murmuration; vultures – committee, venue, bold, wake; turkeys – rafter, gobble; swans – wedge, ballet, lamentation. 6 Learners’ own answers. 7 power, curiosity, trust, liberty, patriotism, loyalty, sympathy, optimism, jubilation, glee, enthusiasm, destiny, courage, ability, anger, affection B 1 Hawaii – Hawaiian; Islam – Islamic; Russia – Russian; Germany – German; China – Chinese; Mexico – Mexican; Hungary – Hungarian; Slovak – Slovakian.

Session 4: Write a short prologue Learner’s Book pages: 11–12 Activity Book pages: 12–13

You will need: learners’ own reading books. Nice to have: PCM 12. ICT opportunity: learners could type their prologues using a word processor.

Learning objectives Learning intentions • to use a book they are familiar with to write a prologue • to work in pairs to plan the prologues carefully including clues to foreshadow events • to match the prologues to the reading books inferring clues about character, setting and storyline. Learning outcomes Learners can: • write several paragraphs of a prologue to their own reading book or a book they know well • include foreshadowing clues in their prologue • maintain a consistent omniscient third person narrative style, largely in the past tense • use clues to match prologues to books.

Plan and write a prologue

• This should be a fun writing activity. Explain that at the end, groups will try to match prologues to the correct book; learners must not sign their work and must write it out on A4 paper. If possible get the learners to type their prologues to avoid handwriting clues. • Ask learners to choose either their current book or a favourite book they know well. Encourage them to read the blurb and then jot down questions about their book: Who is the main character? Where is the book set? What is the main idea in the plot? What issue is to be resolved? Allow learners to discuss their questions and answers with a talk partner – potentially they may find it easier if their partner asks some questions they can answer. Partners can take down notes for each other. Make sure that proper planning is done. Session 4 Write a short prologue

• Once learners are confident about the storyline they can discuss or think of the type of prologue they would like to write. If their prologue will provide hints and predictions (as in The River Singers), make suggestions for clues that are related to the key issue in the plot: If only they had known … If learners are going to attempt a flashback, encourage them to discuss with their partner what events could have happened before the story that might have led to the events of the story taking place. Be prepared to be creative with your suggestions and don’t worry if the learners end up writing something very similar to the model in the textbook. For more guidance on writing a prologue refer to PCM 12 Write a prologue. • Remind them to write in the third person narrative and to try to give a hint of the all-knowing narrator and to choose a word or group of words to be repeated. • Discuss a suitable structure for the three paragraphs – one to introduce the gist of the story; the second to add more details with a few hints; the last to make predictions with would, could and changing from the past tense. Encourage a mixture of long and short sentences, e.g. They knew nothing of the outside. • Partners swap prologues. Encourage them to ask each other questions about the book. Consider modelling a question-and-answer session with a volunteer. • Once the prologues have been written or typed out, display the class’s reading books and prologues. Groups or try to match prologues with books. If more than one prologue has been written on the same book, read them out and discuss the different aspects that have been picked up. Encourage learners to look at the cover illustrations and to read the blurbs and first paragraphs to get the feel of the books and names of some of the characters in order to match them to the prologues.4 Answers: 1–4 Learners’ own answers.

Differentiation: • Pair less able readers with more able readers if they have read the same book, so that less able readers benefit from talking about the storyline with someone who is confident. Alternatively, you could pair less able readers to work on a book together and write a prologue between them; you could do the questioning in the planning phase and make suggestions for clues they could put into their prologue. Assessment opportunities • The sheets of written or typed prologues can be kept for portfolio purposes to assess how well learners have understood prologues, and as an example early in the year of their writing capacity and writing sophistication level, as well as whether they can maintain a consistent narrative voice and tense throughout their paragraphs. Activity Book A Learners read a prologue and make predictions based on their inferences. The questions will help 18

Unit 1 Different voices – different times

them to start thinking along the right lines to make predictions. The box will guide their answers appropriately. Answers: A 1 Possible answers: a present; b It gives the sense of immediacy, as if the action is happening as the reader reads; c It is talking about something in the past; d The future tense is used in the last sentence – to foreshadow what is to come; e First person; f Use of the personal pronouns I and we; g For emphasis – to make the reader realise there is something special about the way; h It makes them stand out and it emphasises that They, although not named, somehow real and present; i It allows readers to fill in their own ideas about what will happen; j Learners’ own answers. 2 Learners’ own answers. 3 Learners’ own answers.

Session 5: Meet the River Singers Learner’s Book pages: 12–14 Activity Book pages: 14–15

You will need: dictionary definitions of light. Nice to have: a copy of The River Singers; PCM 13. ICT opportunity: learners could sketch the journey using computer software. Spelling link: c, ck or k as a word ending.

Learning objectives Learning intentions • to compare narrative styles • to scan for detail to answer questions • to interpret narrative in a visual medium. Learning outcomes Learners can: • identify differences between third person and omniscient third person style.

Read and talk about The River Singers

• Encourage groups of three or four to read the extract from Chapter One. It is the very beginning of the book so the narrative voice is in direct contrast to that of the prologue. All hints of foreboding have disappeared and the narrative style has reverted to a more familiar third person past tense narrative (except for dialogue). • Use the annotations to discuss the purpose of each paragraph and why a new paragraph has been started each time. • The focus of the activity is to get learners to compare the narrative voice and the mood of this extract with the prologue. Bring the discussion back to class level after the groups have had an opportunity to work through the questions to ensure that everybody has noticed the differences and can find examples in the text to support their view. Learners can also suggest their own words to describe the mood using a

thesaurus or their own knowledge – they do not have to use the words suggested in the Learner’s Book. • Include in your general discussion the theme of light versus dark, day versus night, and how a new day represents a new beginning and is usually full of optimism, whereas the night-time often represents concern or brings up fears, as learners may have experienced themselves. Read out or ask learners to read a dictionary definition for light. Discuss its various shades of meaning and associated words, e.g. lighthearted, light of my life, hiding a light under a bushel.

Spelling link While looking at the adjectives to describe the mood, point out the two adjectives ending in c (optimistic and enthusiastic). Ask learners to brainstorm words ending in the hard c (k) sound, drawing up three lists on the board for c, ck and k • Use ck for one syllable words after a short vowel (tick, clock, back, sick, duck, etc.) • Use c if the word has two or more syllables (panic, traffic, clinic, titanic, etc. • Use k when the hard c (k) sound comes after another consonant (bank, dark, silk, etc.) There are more activities on c, ck or k as word endings in the Spelling section on page 158 of the Learner’s Book. Answers: 1 Third person narrative (no first person personal pronouns in the narrative); the style is descriptive of the characters and setting rather than reflecting and predicting as in the prologue. It has a different feeling from the prologue. 2–5 Learners’ own answers.

Answer questions on the extract

• Remind learners to read the questions carefully before scanning the extract to find the answers. Specify whether they are to make notes or write out their answers in full. • They can check their answers with a partner or small group as appropriate. Answers: 1 When his mother calls him young vole and treads on his tail. Clues: burrow, pile of bodies sleeping, twitching whiskers, paws padding (listen/checks scents) – imply an animal. 2 He wants to explore the river, swim, dive and catch food in it. 3 – 4 Learners’ own answers.

Sketch Sylvan’s journey

• Learners need to use the highlighted part of paragraph 2 to help them sketch Sylvan’s journey from the chamber to the river’s edge. If you are using the PCMs, you could use PCM 13 Sketch Sylvan’s journey at this point. Alternatively, if you have appropriate software, learners could use it to sketch the journey using shapes and arrows to represent the burrow and the journey.

• To show that they are able to follow the sequence of directions, ask learners to add captions to their diagram or map, pointing out the features of Sylvan’s route. • Learners should retell the sequence of the route based on their own sketch. Encourage them to use time connectives such as first, second, next and finally. More confident learners could use a variety of adverbial phrases and clauses but still keeping the sequence, e.g. Before going left, Sylvan turned … Encourage volunteers to retell Sylvan’s journey as a model for less able learners. Answers: 1–3 Learners’ own answers.

Differentiation: • Allow some learners to work with a partner as appropriate. Make sure they sketch the route in pencil first and check with you before they finalise and annotate it. Allow them to use more extensive captions which will help with their retelling. Assessment opportunities • Activity B could be used as a comprehension assessment – if so, ask learners to write their answers in full sentences. • Activity C can be used to see how well learners are able to interpret the text from one medium into another. In addition, you can take notes on how well learners are able to speak using only a diagram as a guide. Activity Book A Many words have multiple meanings; ranging from totally different meanings to subtle differences of nuance or context. In this exercise learners have to infer the word class from given definitions. Only some of the meanings have an antonym. Learners use the word in its correct context in a sentence or phrase. When working with the word bright, learners have to infer its meaning correctly in order to provide a suitable synonym. Answers: A 1 a adjective; antonym: heavy; own example. b noun; antonym: none; own example. c adjective; antonym: burdened, heavy, down as in heavy hearted; own example. d adjective; antonym: awkward, clumsy; own example. e adjective; antonym: dark, intense; own example. f noun; antonym: dark, darkness; own example. g noun; antonym: none; own example. h verb; antonym: snuff out, put out, smother; own example. 2 Learners’ own answers.

Session 5 Meet the River Singers

Session 6: Phrases and sentences

reposition adverbial phrases in sentences to see if they make sense. If they don’t, try extending into an adverbial clause to see what difference it makes. You can track possibilities on the board with a good example. Point out use of the comma, especially if the adverbial phrase or clause comes before the main clause or in the middle. For example Before his siblings were awake, Sylvan slipped out of the chamber. Sylvan, before his siblings were awake, slipped out of the chamber. Sylvan slipped out of the chamber before his siblings were awake.

Learner’s Book pages: 14–16 Activity Book page: 15

Nice to have: a copy of The River Singers. ICT opportunity: footage of water voles and other animals in the wild can be found online, for example via uzoouk on youtube.com or the BBC nature website (www.bbc.co.uk/nature/wildlife).

Learning objectives Learning intentions • to revise the components of a basic sentence • to identify the difference between a phrase and a sentence • to understand the importance of word order • to explore the effect of different positions of phrases in sentences and different sentence lengths • to record different sentence techniques in their journals. Learning outcomes Learners can: • identify a sentence from a phrase • discuss why writers choose to use different sentence lengths • recognise the command form of a verb • extend sentences using adverbial phrases.

What makes a sentence?

• Learners will already know what a sentence is. In order to revise the specific features of the sentence, get them to talk about and write a definition in groups. Encourage volunteers to read out their definitions and slowly build a class definition on the board or a large piece of card as part of a working display. • Many complex sentences make use of different word order possibilities, rearranging groups of words, for example, a phrase or a clause may appear at the beginning in the middle or at the end of the sentence, but the words inside the group must still be in a sensible order. Later in the stage, the active and passive voice will be studied in more detail but at this point it might be helpful to differentiate between the subject (the doer of the action – the agent) and the object (the receiver of the action). If the subject and the object in particular end up in the wrong order and the verb doesn’t move, the sentence will no longer make sense. It is most important therefore that learners recognise the subject must precede the verb and the object must follow the verb in a normal active sentence construction. • Adverbs and adverbial phrases and clauses can also move around in a sentence but must still modify or add information to the verb in a sensible manner; often they can be repositioned more easily than phrases, which do not always work at the beginning and end of the sentence. Encourage learners to 20

Unit 1 Different voices – different times

Answers: 1 Learners’ own answers. 2 a The heron caught a fish. b Foxes live underground in dens. c Sylvan began his adventure in the river. d Fish live all their lives in rivers. 3–4 Learners’ own answers.

Identify phrases from sentences

• Just as poets use poetic licence when they choose not to follow the rules of Standard English grammar, authors also sometimes take liberties with sentence construction for effect. While we tend to teach learners that they must write narrative in full sentences – except possibly in dialogue – it is a recognised technique not to in order to create a particular effect, although not one necessarily to be encouraged on a regular basis. • Not all learners will necessarily recognise single words as sentences (Quiver. Listen.). Remind learners of the command form of the verb used to give instructions, e.g. turn left, turn right, and remind them that although the subject is not there, it is an implied subject (you) turn left, (you) turn right. These single verbs therefore do effectively have a subject albeit an implied subject and so actually do form a sentence despite being one word. • Encourage learners to suggest reasons why the author may have chosen to use phrases rather than sentences by getting them to visualise what Sylvan was doing as he was on his journey. Invite a volunteer to role play Sylvan as he goes on his journey to help them associate his movements with the choice of sentence structures and the shorter and longer movements. • Before they write their own paragraphs, encourage learners to think about an animal they know well or, if possible, show footage of animals moving in the wild; for example, a predator stalking slowly and then moving very quickly on a kill, monkeys swinging from tree to tree, a lumbering rhino or hippopotamus, even a bird flitting about in the sky, zigzagging, flapping or gliding. Answers: 1 A left, a right, loop around a knot of roots, then pause at the place where the roof had fallen. Sentence – verb with implied subject. One eye to the sky. Phrase – no verb; Quiver. Sentence – verb with implied subject. Listen. Sentence – verb with implied subject. Check the scents. Sentence – verb with implied subject. Then onwards and downwards to the lower places, the entrance to the Great River and the gateway to the world. Phrase – no verb. 2–3 Learners’ own answers.

Record your reading

• Ask learners to add to their learning journal entries about the prologue and the omniscient narrator. Encourage them to copy extracts into their notebooks as models for the use of short and long sentences and phrases for effect. • Encourage learners to see their journals as writing journals as well as reading logs, and to read as a writer to analyse techniques to incorporate into their own writing. They could also include their own paragraph showing how they attempted the technique. Differentiation: • Work with less able readers and writers on their learning journals, so that they have a useful reference and can copy techniques to support their writing more easily. Assessment opportunities • Assess learners’ grasp of sentence features and the difference between a sentence and a phrase. You can build on this solid foundation later when you revise and develop compound and complex sentences with subordinate clauses. • Assess also learners’ understanding and facility with adverbials (adverbs and adverbial phrases). These are needed for writing a variety of sentence types and sentences of interest that can develop arguments and build sequences. Activity Book A Word order can be varied in sentences to a degree. Demonstrate how to search for the subject of the sentence and match it with the verb. Learners can then reorder the rest of the sentence. B Descriptive phrases can be placed at the beginning, in the middle and at the end of the sentence to extend the main clause. Encourage learners to experiment with their own phrases to extend the sentences. Can they move any of the phrases about in the sentence while retaining the sense? Answers: A 1–2 a Water voles sometimes build a little platform of twigs and grass on tufts of weed to sunbathe on. b Their burrows have many floor levels to prevent flooding. c Water voles are very strong swimmers; they swim up to 500 metres on the surface or 15 metres underwater. B 1 Learners’ own answers. 2 a … the heron spotted its prey … ; b … the loggers cut down the trees … ; c … the voles searched

Session 7: Review word classes Learner’s Book pages: 16–18 Activity Book pages: 16–17

You will need: dictionary and thesaurus.

ICT opportunity: online dictionary and thesaurus, e.g. Cambridge Learner’s Dictionary http://dictionary. cambridge.org/dictionary/learner-english/. Spelling link: a or an.

Learning objectives Learning intentions • to explore the definite and indefinite articles • to investigate different word classes, especially words that can be in more than one class • to understand homographs and how to use context to differentiate the words. Learning outcomes Learners can: • use the definite and indefinite article appropriately • recognise different word classes • differentiate word class by context and position in sentence.

Identify and understand word classes

• Words and sentences are the building blocks of good communication. Learners may read and see widespread use of abbreviated communication especially on ICT platforms. They will benefit from a strong understanding of the word classes or parts of speech and how elements of sentences fit together so that they can build effective sentences and paragraphs whether writing in a fiction or non-fiction context. • Grammar can appear dry and pointless if it is not attached to good examples and if it doesn’t feel meaningful to learners. However, a certain amount of drill is beneficial particularly for those who learn best by repeating an activity until they have mastered it. Although learners have been working with parts of speech across the primary curriculum, and use them naturally in speech, the skill of using words precisely and aptly can transform writing from something pedestrian and functional into something that is both effective and a pleasure to read. Parts of speech and grammatical constructions are the tools of the trade of any writer. • Encourage discussion about the boxed words: what they do; how they add to a sentence. For example, adjectives qualify a noun: a flower; a beautiful flower; a budding, blue flower; a fragrant, delicate, exotic flower. Encourage learners to come up with sentences that use as many of the word classes as possible and display them for everyone to enjoy. • Remind learners that if they are unsure of a word class, they can use a dictionary to find out. If the word belongs to more than one word class, many dictionaries provide a contextual example. If possible, suggest learners try out online dictionaries e.g. the Cambridge Learner’s Dictionary: http://dictionary. cambridge.org/dictionary/learner-english/ • Remind learners how important context is and that some words can potentially belong to more than one word class – for example in can be both a preposition (put it in the box) and an adverb (please come in). Session 7 Review word classes

• The articles are often not noticed in English, especially by second language speakers, because many languages don’t have them as a separate word from the noun. The articles the and a are very important in English to differentiate between a general and specific nouns. Supplementary Teacher Information: In some regions they are part of a class of words known commonly as determiners, which includes words like this, that, those, my, your and their – these determiners are sometimes known as demonstrative adjectives (this, that, those) and possessive adjectives (my, your, their).

Spelling link Point out that the indefinite article is a for words beginning with a consonant but an for words beginning with a vowel and that the pronunciation of an elides into the noun. There are more activities on a and an in the Spelling section of the Learner’s Book. Answers: 1–3 Learners’ own answers. 4 a noun; b adjective; c verb; 5 Learners’ own answers.

d adverb;

e preposition.

Understand homographs

• Homographs can confuse if learners are not aware of them and looking out for them. Discuss the word origin from ancient Greek: homo meaning ‘same’ and graph meaning ‘something written’. Homographs are spelled/written the same way and so look the same, although they do not always sound the same, e.g. record (n) – record (v); whereas homophones (homo/ same and phone/sound) sound the same but may not be spelled alike, e.g. sight/site. • Some homographs share a word class, i.e. are both nouns for example; others are different word classes. The activities cover both. Encourage learners to use a thesaurus. Answers: 1 Possible answers: a pupil: a school student; the black centre of the eye. b club: an organisation for people who want to take part in a sport or social activity together, or the building they use for this; a long, thin stick used to hit the ball in golf; a heavy stick used as a weapon; a place open late at night where people can dance. c ring: a round piece of jewellery to wear on your finger; something that is the shape of a circle; the sound a bell makes. d bank: an organisation or place where you can borrow money, save money, etc.; the land along the side of a river; a large pile of snow, sand, or soil. e bat: a piece of wood used to hit the ball in some sports; a small animal like a mouse with wings that flies at night. 2 Learners’ own answers. 3 Possible answers: a adventurous – adj. synonym possibilities: daring, bold, brave, courageous, audacious. b disturb – verb. synonym possibilities: interrupt, distract, bother, disrupt, annoy, intrude. c warily – adv. synonym possibilities: cautiously, suspiciously, carefully, thoughtfully. d guardian – n. synonym possibilities: carer, protector, caretaker, keeper, guard.

Unit 1 Different voices – different times

Differentiation: • Make time to go over the concepts with learners who are struggling. Assessment opportunities • Use the activities to assess the learners’ understanding and competence with the different word classes. It is an important foundation for the year’s learning. Activity Book A Learners should by now know the different word classes although interjections may be less familiar. Remind them that interjections are usually exclaimed or said with emphasis so are often followed by an exclamation mark. Even if they know the different word classes, it is handy to have the definitions to hand. They can note the definitions in their Learning journals. For question 2 remind them that prepositions can consist of more than one word, for example, in front of or next to and can also be other word classes. Encourage learners to think about how they use the prepositions. Notice that they always come before the noun they modify – beside the car, in front of the gate, below the stairs, etc. Answers: A 1 a conjunctions; b nouns; c verbs; d adjectives; e pronouns; f adverbs; g prepositions; h interjections. 2 Learners’ own answers. 3 between; in front of; through; across; beside; under; over; below; next to; above; outside; beyond.

Session 8: Review dialogue Learner’s Book pages: 18–20 Activity Book pages: 17–18

Nice to have: PCM 3; a selection of reading books in which to find examples of dialogue.

Learning objectives Learning intentions • to practise reading with expression to bring out a character • to build a character profile from dialogue • to revise how to punctuate dialogue • to write dialogue to extend the extract. Learning outcomes Learners can: • read aloud with expression ‘in character’ • infer character traits from clues in the dialogue and supporting narrative • develop and apply rules for punctuating dialogue correctly • write their own dialogue in groups.

Read the dialogue aloud

• Authors do not usually describe characters in their entirety – they allow readers to infer from the way characters speak and act. Encourage learners to make suggestions about what the characters are like, and discuss what sort of people they think the vole characters would be if they were human. • Explain that learners are not going to have a narrator reading out the connecting narrative but rather that they must use the connecting narrative as the equivalent of stage directions to help them know how to speak and act – for example Aven gasped and sat upright … • Discuss how to read with expression and to empathise with each character. Encourage them to recall what they know of Sylvan from previous sessions. Ensure learners skim the passage to check they understand context before they focus on their own parts to check understanding of the words and how to pronounce them. For guidance on skimming refer to PCM 3 Reading strategies. • Encourage body language and gestures to accompany voice expression. Every good reading is in some way a role play. Ask one or two groups to demonstrate their reading and lead feedback on what was enjoyed and suggestions for improvement. • Ask the learners to draw up a mind map on their character using their knowledge from reading the character’s words to build a character profile. Share mind maps and discuss ideas about the characters. • Learners should then be able to read the dialogue with even more expression. Swapping characters will give them a different perspective on the same events. For example, from Aven’s and Orris’s perspective, Sylvan could be being a bossy older brother but Sylvan might just want to fill them with his enthusiasm without thinking that they may feel differently. Answers: 1–4 Learners’ own answers.

Revise dialogue punctuation

• Get learners to discuss the dialogue and develop a memo before having a class discussion to find out how much they remember about punctuating dialogue. Pull the activity together by drawing up a class memo for the wall on punctuating dialogue. Answers: 1 The memos should contain the following points although the italicised parts may not be ascertained from the example: • Enclose the actual words spoken in speech marks. • Start a new line when a new person starts speaking. • Use a comma before the words in speech marks if they are introduced, and begin the spoken words with a capital letter. • Use a comma, a question mark or an exclamation mark at the end of the words spoken inside the speech marks but never a full stop. If an exclamation mark or question mark ends the speaking, no capital letter is used to carry on the sentence if it identifies the speaker. • If the dialogue continues after the speaker is identified, do not use a capital letter at the beginning of the new dialogue unless it is actually a new sentence.

Write your own dialogue

• Now that learners have recapped the rules for punctuating dialogue, they have a chance to write some of their own by extending the extract of dialogue while Sylvan tries to encourage his siblings to go out and explore. To stimulate ideas, encourage groups to role play the dialogue before they write it out. • Encourage learners to use strong verbs. You could write a word bank on the board to assist them: gasped, laughed, jeered, complained, persuaded, encouraged, refused, etc. Adverbs and adverbial phrases will also be important to express the context. Remind them to refer to the extract for examples. • Let the learners enjoy performing each other’s dialogue. If time is short, let smaller groups perform to other groups simultaneously. Differentiation: • Organise mixed-ability groups as the activities are a mixture of reading, writing and performing. • Let learners write in groups for mutual support or independently to extend them. Assessment opportunities • Assess learners’ dialogue for content, punctuation and interesting connective narrative. • Negotiate relevant success criteria with learners. Here are some suggestions: We are to extend dialogue in the extract involving the same characters. Each character must speak at least twice. We must keep the dialogue ‘in character’ from our prior knowledge of them. We must punctuate the dialogue according to the rules we developed. Activity Book A Learners should be familiar with the rules for punctuating dialogue, but it is easy for the rules to slip away if they are not practised regularly. The sentences to punctuate cover various different dialogue examples to test their skills. They must also fill in an alternative reporting word to said. using the context to imagine how the speaker would have said the words. Make sure the verbs are in the past tense. In the second question, learners create interesting dialogue that make sense of the one-sided dialogue given. Remind them that the speakers are a father and son. B Use the word gnaw from the extract in the Learner’s Book as a springboard into this spelling attack which covers the various different types of silent letters learners are likely to encounter. Answers: A 1 a “Don’t forget to bring your soccer ball tomorrow” [own word, e.g. reminded] Javier. b Ava [own word e.g. begged], “Please may I go to the party; everyone will be there.”

Session 8 Review dialogue

c “What on earth have you got there?” [own word, e.g. laughed, enquired] Sebastian. d “Give me that!” [own word, e.g. demanded] Nesmah. “It’s mine.” optional exclamation mark at the end. 2 Learners’ own answers. B 1 gnaw chaos receipt castle guide design fascinate limb solemn foreign knuckle writhe 2 g, h,p,t,u,g,c,b,n,g,k,w. 3 Learners’ own answers.

Session 9: Voices Learner’s Book pages: 20–23 Activity Book pages: 19–20

ICT opportunity: recording device to record the readings and role play.

Learning objectives Learning intentions • to read with expression in groups • to discuss handling of time options in stories • to infer a timeline from different narratives of the same events • to understand perspective and point of view • to explore link between Standard and colloquial English styles and characterisation. Learning outcomes Learners can: • infer a sequence of events from parallel narratives • read aloud with expression using narrative style to build character • discuss perspective and point of view in narrative.

Read the extract

• Voices in the Museum tells the same events from three different points of view. A fourth person is mentioned in the events. Learners piece together Voice 4 by inference during the following sessions. • Learners should work in groups of three, with one person for each voice. Each learner skims their voice to get the general idea and they summarise the key points to each other. Encourage discussion about the different points of view and what they have noticed – what seems the same and what information appears only in one voice. They can also discuss their initial impressions of the characters. If appropriate, pool the class’s impressions of the voices before they read aloud. • If possible let groups record themselves reading aloud so they can listen back and discuss how to improve expression. Allow practice time before recording a final version. If no recording device is available groups can practise in front of each other to get feedback.

Unit 1 Different voices – different times

• In order to get in character, encourage learners to get into position physically as they read, e.g. sitting as if on a bench, constantly looking around for Maximilian. If learners imagine the body language, expressions and gestures, this should come out in the reading when they hear it played back. Answers: 1 Learners’ own answers. 2 An older lady (Voice 1) is taking her charge, possibly her son or grandson, Maximilian, on an educational outing to the museum. She seems fussy and uptight as she sits on a bench and disapproves of Maximilian going to the kiosk rather than studying the dinosaur. Voice 2 is a supervisor at the museum who is just coming off shift and waiting to meet his teenage daughter, Jax. Jax (Voice 3), is a teenage girl who meets Maximilian in the kiosk queue where he is anxiously looking towards Voice 1 because he knows that she won’t approve of him going to the kiosk instead of studying the dinosaur. 3 Learners’ own answers.

B Make a timeline of events to understand the characters • The voices describe events that happen in parallel rather than in sequence so the learners need to scan each voice carefully and try to piece together a sequential timeline of events. There will be some flexibility in how they interpret the sequence, for example it is not clear in the text whether the lady arrives before the supervisor but learners can establish that he sits down after she does, from her reaction. Learners can draw the timeline, with caption notes above and below. Start with a discussion about what happened first, then allow groups to construct the timeline. Groups can compare timelines for accuracy and discuss differences. • Learners can use a mind map or other organisational tool to build a profile of each voice; the important issue is to find evidence in the text to support their inferences. • A class discussion about their favourite character will round off the session well. Learners should express their preference supported by reasons and evidence; focus on their reasoning so that they become confident at justifying an inference. Answers: 1 Timeline to include at least the following: Voice 1 arrives with Maximilian at the museum and goes to the dinosaur hall. Voice 1 sits down on the bench near the Tyrannosaurus Rex, while Maximilian wanders off to look at the exhibits. She notices something odd about the dinosaur. After Voice 1 has sat down, Voice 2 sits down on the other end of the bench, having come off shift at the museum. He either has or hasn’t already met up with his daughter who is queuing at the kiosk to get coffee for him. Meanwhile Maximilian wanders away from the dinosaur and joins the kiosk queue. While trying to hide from Voice 1, he begins to get on the nerves of Voice 3 although she finally asks if he wants a drink, after noticing something slightly strange about the dinosaur. While they are both in the queue talking, Voice 1 notices that Maximilian is no longer looking at the dinosaur and is queuing at the kiosk, so she gets up to make her way over to him. 2 Learners’ own answers.

Think about how we express ourselves

• Supplementary Teacher Information: Standard English can be a difficult concept for learners, especially as English varies from region to region and in general, Standard English has become much less formal than it was perhaps 10 to 20 years ago. However it is still important for learners to be able to recognise what is generally regarded as Standard English with complete sentences, paragraphs, correct grammar and punctuation and no colloquialisms such as contractions or slang. English is an extremely figurative language and so it may not be entirely appropriate to say that Standard English contains no figurative expressions at all. However, it does not usually contain idiomatic expressions such as she cried her eyes out or proverbs, unless perhaps in dialogue. • Allow learners to work initially in pairs and then go over the activity as a class to ensure that everyone is clear before they write the sentences in their notebooks. Answers: 1 Possible answers: a I would have asked [her] if she was alright but I was exhausted. b I thought I would ignore the lady in the purple coat until Jax came with my coffee. c Jax knows every bone well, and has done since she was a young child! d Would you like a cool drink?

Link speaking style to characterisation

• Each character recounts the events as if they are speaking, so learners can consider the ‘voice’ of each character in terms of Standard English, slang and colloquialisms. In the case of Voice 3 textual features also indicate how she speaks and something of her character. • Learners should notice that Voice 1 uses the most correct or Standard English, which fits with other evidence about her: her formal way of dressing, and behaving, what she thinks Maximilian should be doing and so on. Voice 2 uses the least Standard English which could imply he has a regional accent, or has a job that does not require him to use Standard English. Voice 3 reflects the voice and writing style of a teenager in the use of terms like sooooo. • There are no right or wrong answers but learners should draw inferences about characters from how they speak in the text. However, be sensitive about guiding learners to recognise that speech does not necessarily reflect all there is to know about a person, e.g. in relation to speech difficulties, accents or how people choose to express themselves. • Encouraging the learners to role play the different characters will help them to reflect on the different ways we choose to express ourselves either naturally or by choice.

Answers: 1 Voice 1 – it fits her proper appearance and how fussy she is. 2 Learners’ role plays. They should feel it changes his character and does not reflect the same person. 3 Learners should notice the text effects, e.g. sooooo tired [informal spelling for emphasis]; we always do the dinos [underlining for emphasis and informal abbreviation]; She must have been sweltering – didn’t she look outside this morning?[rhetorical question for emphasis]; ON MY NERVES [capitalisation for emphasis]; The Purple Coat [nickname and italics for mischief and emphasis]; You up for a cool drink, then? [casual expression]; broke the ice [idiomatic expression]; also the contractions and use of an ellipsis at the end to allow reader to imagine what happened when the Purple Coat arrived; together implying a teenage speaker.

Differentiation: • Encourage mixed-ability groups for the reading and character analysis but do not insist. Allow more able groups to form if they occur naturally but challenge them to work harder at their reading and character analysis. • Consider working in a small group with those who find it hard to infer characterisation from the speaking style and to identify non Standard English constructions. Assessment opportunities • Use learners’ reading/role play to assess understanding of characterisation and how we choose to express ourselves. Recordings could be retained for portfolio purposes, focusing on how they reflect on variations in speech and appropriate use of Standard English; how they convey ideas about characters in drama in different roles and scenarios through speech, gesture and movement; and how well they vary vocabulary, expression and tone of voice. • Negotiate relevant success criteria with learners. Here are some suggestions: We must summarise each character’s account of events to find out about them. We must use body language, gesture, and tone of voice to reflect our characters. We must incorporate our knowledge of their use of Standard English in our characterisation. We can record ourselves so that we can discuss our performance and improve it. Activity Book A Standard English can be a difficult concept because different regions vary slightly in what is considered to be Standard English. Ensure learners are clear about any local regional differences, and that Standard English is the ‘correct’ form they would find in a book or newspaper. It is also how they are usually expected to write. It incorporates standard rules of grammar such as subject-verb agreement, elements of proper sentences, correct punctuation and no informal or colloquial words or sayings, including no contractions. B Recap differences between idioms and proverbs. Proverbs contain a nugget of wisdom and their literal meaning can be easily understood and applied in Session 9 Voices

different contexts. Idioms do not usually have any wisdom to them. Their meaning is not clear from the actual words because the literal meaning is quite different. In many cases then need to be learnt together with their meanings so that they can be used properly. They are often also quite regional and may not be understood elsewhere. Answers: A 1 a true; b true; c false; d true; e false; f false; g true; h false; i true; j true. 2 a second sentence; b first sentence; c second sentence; d second sentence; e second sentence; f first sentence. B 1 a proverb; b proverb; c idiom; d proverb; e idiom; f proverb; g idiom. 2 Learners’ own answers.

Session 10: Finding out about flashbacks Learner’s Book pages: 23–24 Activity Book page: 21

You will need: the listening text from Oliver Strange and the Journey to the Swamps on page 23 of the Learner’s Book. Nice to have: examples of novels for learners to read that use flashbacks – e.g. several of Michael Morpurgo’s novels use the flashback technique (The Butterfly Lion, Toro! Toro!); The Wreck of the Zephyr by Chris Van Allsburg; PCM 14. ICT opportunity: voice recorder to record the listening extract; The Piano –a short animation by Aidan Gibbons (available on YouTube).

Learning objectives Learning intentions • to introduce the technique of flashbacks in novels and film • to develop listening skills – listening for detail • to infer a timeline from different points in the story. Learning outcomes Learners can: • recognise and discuss a flashback • infer a sequence of events from different times in the story • make predictions based on clues.

Talk about flashbacks

• Flashback is another technique for handling time in narrative. Learners will write Voice 4 as a flashback to the moments in the museum. • Flashbacks may be more familiar to the learners from films than novels they have read as the concept can be difficult for younger learners. Flashbacks can be short inserts or even the main story as is frequently the case in Michael Morpurgo’s books. 26

Unit 1 Different voices – different times

• Talk about flashbacks the learners might have experienced – a feeling of déjà vu, a vivid memory or a dream. Discuss why some memories stand out more than others. • If you have access to the internet, The Piano, a twominute animation by Aidan Gibbons, set to music by Yann Tiersen, is a fabulous way to introduce flashbacks. An old man is playing the piano and the film traces his life in a sequence of flashbacks. Be aware that the mood of the film is emotional and it includes wartime scenes; you will need to judge whether the content is appropriate for your class. Answers: 1 Learners’ own answers.

Listen for detail

• The novel is about a boy, Oliver, who travels to Southern Africa from Tooting, an area of London, to search for his professor father who has gone missing while researching an extremely rare but poisonous frog. The book opens while Oliver is already on his way to Africa so the flashbacks occur regularly throughout the book to explain some of the background and how a young boy happens to be travelling to Africa on his own. • Talk about what learners think a flashback could be and how it would work in a novel before explaining and reading the extract. The extract comes from the end of Chapter 4 and the beginning of Chapter 5 of the novel. Oliver flashes back to how it all began after everything started to become strange. He flashes back to being with his grandmother when he first began to think his father had disappeared. If you are using the PCMs, you could use PCM 14 Oliver Strange – a timeline of events at this point. • Make sure learners read the snippet first to give them some context for what they will listen to. Read the text aloud as learners listen. Although this is designed as a listening activity, you may want to allow less able learners to follow the text in the endmatter as you read. • Read the extract once, then discuss what learners remember and then ask them to read the questions before you read it again. The questions are largely concrete and require concentrated listening/note taking rather than interpretation. Remind learners that note taking means key words rather than full sentences. • Let learners go over their notes and work out where they need to listen for more information, then reread once more for them to complete their answer notes. Remember that listening is a skill that needs to be practised, so don’t make the activity too much about getting everything right. When you go over the answers, build them as a class using contributions from everyone rather than marking the activity as right and wrong individually. • Before they draw up the timeline, discuss the sequence of events, particularly with groups of less able learners helping them to see that the end of Chapter 4 is set after the flashback to earlier events at the start of Chapter 5.

Answers: 1 a He is in Zimbabwe, on his way to Victoria Falls. b His aunt hadn’t been Bulawayo to meet him. He was travelling with a python. A creepy, sinister man was following him. Ilalaland wasn’t a place after all. The plans he made with grandma in Tooting had gone upside down. Tooting was far away. He wasn’t any closer to finding his father than before; he had disappeared. c Tooting, London – three weeks earlier. With his grandmother. d South China, Vietnam, Cambodia, Thailand, Madagascar, Mozambique, Tanzania, the Congo, (through the Amazon – could include Brazil), Peru and the islands of the Pacific Ocean; to research frogs 2 Basic events to be included: Oliver’s father gets interested in frogs; he travels the world to research frogs; he disappears; Oliver tells his grandmother he thinks his father has disappeared; Oliver goes to Africa to find his father.

Differentiation: • You could record your reading so that selected learners can have access to your reading as often as they need to answer the questions and draw up the timeline. • If you cannot record your reading, allow selected learners to use the text in the Learner’s Book on page 23. • Encourage some learners to write full answers to the questions rather than taking notes only. Assessment opportunities • Assess the learners’ listening ability, either via the class discussion following the activity, or look at their notebooks. Activity Book A A number of clues have been given in the passage for learners to pick up on and imagine how the adventure got started. This is an ideal homework task. Answers: A Learners’ own answers.

Sessions 11 and 12: Create Voice 4 at the museum Learner’s Book pages: 24–25 Activity Book page: 22

You will need: Voices in the Museum text from Session 9. Nice to have: PCMs 6 and 15.

Learning objectives Learning intentions • to infer profile of the missing character • to experiment with role play to build characterisation • to plan and write a flashback narrative in a consistent authentic narrative voice • to review, edit and improve own writing.

Learning outcomes Learners can: • use detail to infer characterisation • use the flashback technique to give clues in a story • write a narrative in a consistent voice • use Standard and nonstandard English techniques to add depth to the ‘voice’.

Build a profile of Voice 4

• Recap events from the Voices in the Museum story and explain that learners are going to develop Voice 4 – the fourth character – from the clues in the story. It is a great opportunity to demonstrate how much information can be established by asking the right questions. Encourage learners to add their own questions to elicit details, for example: What was odd about the dinosaur? What could Voice 1 and 4 have noticed that was odd about it? Learners might find the information useful when they begin to plan their flashback later in the session. • The role play will help learners to think about the characters; what Voice 4 might have said about the other characters and what they might have said about him. • Make it clear that although learners can find out some information about Voice 4 from the other voices, they will also have to use their imagination to fill in the unknown parts. Learners may make simple inferences, but challenge them to think of other possibilities, for example, what if the lady is a palaeontologist who thinks the dinosaur may not be what it seems and is trying to prove it and is worried about Maximilian getting mixed up in the business? Encourage imagination. This session is designed to spread over two lessons so allow plenty of time. Answers: 1 a Maximilian. He is related to the lady in the purple coat, Voice 1. He is not related to Voices 2 and 3 but he meets Jax, Voice 3, at the kiosk and strikes up a conversation. b Voice 1 suggests he was not keen: Maximilian dragged his heels as he always did on days like these. c He slipped away from the dinosaur to the kiosk when Voice 1 was not concentrating on him and met Jax in the queue. d Accept any sensible suggestion – probably because he knew he was supposed to be looking at the dinosaur and not going to the kiosk and that she would tell him off if she saw him there. 2–3 Learners’ own answers.

B Plan and write a flashback for Voice 4 to the museum • The writing activity is effectively Maximilian’s reflection on the same events at the museum as the other voices. His reflection though is now a flashback in a different story – The Missing Dinosaur Bone. If any learners find the flashback hard to think about, get them to plan Voice 4 as if it was just like the

Sessions 11 and 12 Create Voice 4 at the museum

others. Once they have planned what they are going to say, discuss what the mystery of The Missing Dinosaur Bone could be about and whether there were any clues in Voices 1, 2 and 3 that something was wrong with the dinosaur. Learners don’t have to write the entire story so they can be as creative as they like with the flashback idea and what Voice 4 might have remembered as he thinks back to those moments in the museum and meeting Jax who knows everything about the dinosaur. • Remind learners that they are writing in the first person and encourage them to include details and a speaking style that would match an 11–12 year old boy, including colloquialisms, slang or informal text/ punctuation features. If you are using the PCMs, you could use PCM 15 Voice 4 at the museum at this point. • Learners should read their drafts to a partner once or twice to get feedback on the speaking style, whether the content matches the other voices, whether he remembers a ‘clue’ that could help him in his new adventure. Tell them it is like he is talking to himself – asking himself questions (as Jax did) – even if they end up being rhetorical questions without an answer. Allow learners time to edit their drafts, maybe incorporating feedback and proofreading for errors, refer to PCM 6 Check, check and check again! Differentiation: • Ask some learners to role play what the other characters might have said about Voice 4 if they were asked to remember him specifically from the day at the museum. • Encourage some learners to write the entire story of The Missing Dinosaur Bone. It can be an ongoing task for extension. They can type it up and illustrate it by hand or using ICT and produce it as a short novel, possibly dividing it into chapters.

Unit 1 Different voices – different times

Assessment opportunities • Assess learners’ ability to role play and adapt their speaking style to reflect their character. • Assess how well they maintain a consistent narrative voice in their first person narrative flashback. • Negotiate appropriate success criteria with the learners. Here are some suggestions: We must write Voice 4’s version of events at the museum We must write in first person narrative. The content must fit in with the other voices’ versions of events The ‘voice’ must suit the style and personality of a young boy through the language and written style. It must be a flashback and contain at least one clue that would fit The Missing Dinosaur Bone story. Activity Book A Learners may have learned about perspective in art classes. Talk about seeing an object from different angles, for example drawing an object from a bird’seye view and from different sides. Explore and display optical illusions associated with perspective; examples are easily found online. B Learners rewrite the narrative from Shahid’s perspective using first person narrative pronouns such as I and we. They can add to and take away from the text as necessary, e.g. to imagine his response to what Zahra is saying. Choose whether learners must edit their work to presentation standard, or whether for some learners the content is more important to ensure that they have understood how to write from a different perspective about the same set of events. Answers: A–B Learners’ own answers.

People in the news

Unit overview This four-week unit explores different forms of accounts including news reports, autobiography and biography. Learners will recall and analyse the style and format of news report features. They will analyse the tone and choice of words used in a report and understand that writers write from a particular point of view to influence the reader. Learners will express their views about issues raised and compare texts, noting differences in purpose, language, style, audience, format and tone. Once learners have analysed various recounts, they will plan their own autobiography and write a news report on a famous person. Throughout this unit, learners will develop vocabulary, language and comprehension skills. Since learners work at different speeds, one double session has been allocated in this unit to allow for differentiation of pace.

Aims and objectives By the end of this unit, learners will be able to: • read and compare different texts written for different purposes • identify features of texts • read a text and identify the view of the writer and the view of the reader • read as a writer • work in groups, express ideas with confidence • write with confidence.

Skills development During the course of this unit, learners will: • read and write headlines • comprehend a news report • have a group discussion • analyse and compare texts according to the purpose, language, style, audience and format • identify facts and opinions in a news report • understand words in context and how vocabulary affects the tone • read an autobiography and a biography and identify the features • write a biographical news report.

Prior learning This unit assumes that learners can already: • identify features of a news report • distinguish between an autobiography and a biography • use first, second and third person pronouns • explain the difference between a fact and an opinion • use a dictionary and a thesaurus.

Unit 2 People in the news

Session 1: Making headlines

Spelling link

Learner’s Book pages: 26–27 Activity Book pages: 23–24

You will need: time and space for discussion; notebooks. Nice to have: examples of (appropriate) headlines. Spelling link: compound words. ICT link: Search headlines of famous events, e.g. the sinking of the Titanic, or the first people on the moon. Use online news sites written specifically for young people, e.g. www.timeforkids.com or http://kids.nationalgeographic.com/kids/stories.

Learning objectives Learning intentions • to speak confidently in groups • to describe a text and its effect • to use punctuation for effect • to write headlines that make an impact. Learning outcomes Learners can: • express themselves confidently • analyse headlines • identify uses of punctuation • write headlines.

Who reads the news?

• News is available online, on TV and in newspapers and magazines. There are many child-oriented news and magazine websites. • Discuss which learners read the news and in what form. Find out what types of news the learners enjoy. Answers: Learners’ discussion.

Talk about headlines

• Discuss the purpose and impact of headlines. Are they always noticeable? Are they easy to read or difficult to ignore? Often headlines not only tell readers about the topic and draw them in, but also persuade them to buy the newspaper. • A headline can be biased, neutral, figurative or literal. Ask learners to describe the examples in the Learner’s Book. Answers: 1 Learners’ own answers. 2 You can tell by the vocabulary and tone that some news is ‘good’, e.g. Congratulations – it’s a boy!, Balloon trip: a great success. 3 To sum up an event in a few words and get the reader’s attention; to promote a message or point of view; to promote a publication.

Unit 2 People in the news

A compound word is made up from two or more other words, creating a word with a new meaning, e.g. news + paper = newspaper; head + line = headline; to + day = today. Learners do not need to focus on hyphenated compound words (e.g. short-term, blue-eyed) at this point. Let pairs brainstorm compound words and check them using a dictionary. There are more activities on compound words in the Spelling section of the Learner’s Book.

Attention-grabbers

• Revise punctuation marks. Ask learners to explain the punctuation used in each headline and its effect. • While most news reports are in Standard English, headlines are often not. They often use everyday language to get the reader’s attention. • The example headlines can be written out as complete sentences by including missing articles, subjects, connectives and punctuation. Revise sentences using the language box. A complete sentence would reduce the impact of a headline. Answers: 1 Bad weather STRIKES: capitalisation highlights a word for visual impact. Congrats – It’s a boy!: the dash creates a pause followed by an explanation, the exclamation mark expresses joy and surprise. ‘Unsinkable’ liner goes down: the speech marks used imply so called and emphasise how wrong this description turned out to be. New mobile device ‘a win’: speech marks indicate a biased view. Rescue (mum) hero: brackets provide additional, surprising, information. Balloon trip: a great success: the colon provides a pause followed by an explanation or direct speech. And the winner is …: ellipsis creates pause and suspense. Teacher, parents get A+: the comma is used in place of a connective to shorten the headline. 2 Congrats, A+, ‘a win’. 3–4 Learners’ own answers.

Differentiation: • Learners can carry out independent research analysing other headlines. • More activities on analysing and writing headlines are provided in the Activity Book. Assessment opportunities • Informally assess group work and discussion. Observe to see whether learners can express themselves confidently. • Use the answers provided to guide your assessment of the learners’ written responses.

Activity Book A This activity could be integrated with mathematics or geography. Discuss questions they could ask that require short answers, and look at different types of charts to present the findings. B This is a good group work activity, but learners can work individually. Another option is for them to add headlines to posters displayed around the classroom to create a class collage. C Learners practise writing headlines using effective punctuation.

Skim a news report

• Skimming a text for clues is an important skill to practise. Remind them not to read in detail when they skim but just get an overall sense of the content and tone. The headings, picture, and first and last sentences will show if the text is serious or lighthearted, fact or fiction, formal or informal, etc. • In preparation for debating later in the year, learners should practise expressing opinions using the words I think … , because … . • Learners can check words in a dictionary, e.g. inflammatory – intending to cause anger.

Answers:

A 1–2 Learners’ own answers.

1 Rosa Parks – a black woman who was arrested for not giving up her bus seat to a white passenger. 2 Alabama, USA in 1955. 3 No, this story made the news many years ago. It is history. 4 Learners’ own answers.

B 1–4 Learners’ own answers. C 1 2 3 4 5

Possible answers: A new season – a new team Panic as lights go out! 100% vote “YES” Rain, rain go away … ‘Thyme’ to eat?

Session 2: Read and make meaning Learner’s Book pages: 27–29 Activity Book pages: 25–26

You will need: dictionaries; thesauruses; notebooks; time for discussion. Nice to have: other interesting articles; The Rosa Parks Story, a film written by Paris Qualles and directed by Julie Dash. Spelling link: words spelt differently. ICT link: Search online for Rosa Parks information; search for common acronyms and abbreviations.

Learning objectives Learning intentions • to develop reading skills, e.g. skim and scan • to use words in context • to understand the explicit and implicit meaning of the text • to summarise the main idea of a text • to discuss different views. Learning outcomes Learners can: • skim a news report and identify the main idea • work out the meaning of words in context • answer questions about the text • summarise the text • have a discussion.

Words in context

• Learners should read the text more than once. They can take turns to read aloud to a partner. • Learners should identify words in the text that are different from ones they use, e.g. department store, bus or police. Let learners share their understanding of the terms. • If appropriate, discuss how language changes over time, and how acceptable or unacceptable some terms are at different times and in different contexts. Answers: 1 2 3 4

Learners’ own answers. Shop, supermarket, café, winkel, market, etc. Learners’ own answers. Acronym/abbreviation.

Spelling link Some English words are spelt differently in the USA. List words with different US and UK spellings, e.g. color/colour, realize/realise and discuss how they are spelt in your region. There are more activities on words spelt differently in the Spelling section on page 158 of the Learner’s Book.

Understand and summarise

• Learners’ answers will help them identify facts and summarise the report. • Get the learners to summarise each paragraph as a series of headlines to help understand that paragraphs contain one main idea, linked to a main topic. • Based on the learner’s understanding and summary of the event, they can discuss how accurate they think the details of the report are.

Session 2 Read and make meaning

Answers: 1 2 3 4

She was a seamstress – someone who sews. She refused to give up her bus seat to a white passenger. No, but it was her first time to be arrested. According to the report, she didn’t want to move because she was tired. 5 She was arrested and had to appear in court. 6 Learners’ own answers. 7 Some details in the report are inaccurate due to personal interpretation.

Have a discussion

• Allow discussion time. Learners can express their views on the issues covered using the questions provided and add further points of their own. • Organise groups according to language ability and their ability to work together. Groups can appoint a group leader, a scribe and a spokesperson. • The discussion should be summarised and presented to the class, reflecting all views raised. They should realise that there is not necessarily a ‘right’ or ‘wrong’ conclusion. The sentence starters and connectives provide the language tools to express a range of perspectives. • Monitor discussions and assist those who struggle to work together or formulate their conclusions. Highlight that all opinions are valid. Answers: Learners’ own answers.

Differentiation: • Paired reading (between two learners or an adult and a learner) helps learners practise reading aloud. They should not feel judged or pressurised as they read as this can hinder progress. A reading partner should give gentle prompts and be patient with the reader. • Less able readers may need help with answering the questions. You can work through the questions together first and provide sentence starters. • Assist and monitor group work and be aware of those who do not work well with others. Some individuals may be best placed in a quiet role such as time keeper or scribe. Assessment opportunities • Assess learners’ reading aloud. • Assess if learners understand the explicit and implicit meaning in the text by observing their responses. • Conduct informal observation to assess their ability to work in groups, have a discussion and express themselves confidently. Activity Book A Learners make predictions from headlines individually or in discussion groups. B Learners could find other unfamiliar words by talking to classmates from other cultures, use dictionaries with local or colloquial terms, or research online. They should find as many words as possible.

Unit 2 People in the news

Remind learners that the UK/US spelling is explained in most dictionaries and is also an option on ICT applications. C Learners work on any appropriate, relevant newspaper or child-friendly online report. Avoid offensive or disturbing material. Learners should stick their report in their books for you to see. D Learners express their thoughts about issues that they feel are important. Answers: A 1 2 3 4 5 B

Possible answers: News about a new team selection. A power failure. A local or national referendum. Bad weather. Ideas for using thyme in meals. Possible answers:

1 a learner b shades c take-away/take-out d crook e flat 2 UK colour; US recognize; UK traveller; US license; US dialog C–D Learners’ own answers.

Session 3: Go deeper Learner’s Book pages: 30–31 Activity Book pages: 27–28

You will need: notebooks, dictionaries. Nice to have: PCMs 16 and 7; a proverb dictionary or reference book of sayings and expressions. ICT link: Search online for meaning and origin of proverbs and other expressions.

Learning objectives Learning intentions • to analyse a text • to think about the impact that a text can have on readers • to explore the use of proverbs. Learning outcomes Learners can: • identify the purpose, language, style, audience and format of a text • consider the impact this has on readers • identify an appropriate proverb to summarise the message.

Analyse purpose and style

• Learners should copy and complete the table in their notebooks. • Guide learners’ answers by working through the questions and comparing the report features (language, style, etc.) with those of other text types in the classroom (text books, magazines, etc.).