Cambridge Grammar and Writing Skills Learner's book 8 sample by Cambridge International Education

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Learner’s Book 8

Mike Gould and Eoin Higgins

Our approach makes Better Learning possible, enabling students to accelerate their learning and develop skills for life.

Mike Gould and Eoin Higgins

Brighter Thinking drives the Cambridge Approach; every day we talk to teachers and leading educational thinkers in Cambridge and around the world about how to make teaching and learning better.

Learner’s Book 8

• Help your learners recognise the features of different text types • Improve students’ comprehension and analysis skills with model texts in each unit • Help learners check their work with the ‘Editor’s checklist’ - a useful list of grammar, proofreading and editing tips • Help learner’s plan extended writing tasks with useful tools, like planning scaffolds and mind maps • Introduce your learners to longer, more varied texts types than those found in ESL materials, including fictional literature and poetry • Develop your learners’ ability to produce varied text types through activities such as vocabulary, grammar and cohesion techniques

Cambridge Grammar and Writing Skills

Whether it’s writing a short story, a diary or factual reports, Cambridge Grammar and Writing Skills provides activities for learners to practice and extend their writing skills. Each unit focuses on a different text type, building confidence in extended writing, while example texts show students a model to work to. Use of English activities give learners opportunities to practise grammar for different writing tasks. The series is the ideal support for our popular Global English and Checkpoint English resources. It suits first and second language learners, providing valuable consolidation for first language students and an opportunity for second language learners to extend their skills.

Cambridge Grammar and Writing Skills

Original material © Cambridge University Press 2019

LE P M A S Original material ÂŠ Cambridge University Press 2019

Cambridge Grammar and Writing Skills Learnerâ&#x20AC;&#x2122;s Book 8

Mike Gould and Eoin Higgins

Original material ÂŠ Cambridge University Press 2019

Contents Text type

Task type (aim)

Grammar

1 Making myths

Myths and legends

To shape your own story using the basics of a wellknown myth

Revision of modal verbs of possibility and deduction

2 Social stories

Social stories

To write a story that explores a funny or difficult situation people find themselves in

Gerunds and infinitives

3 Autobiographical adventures

Autobiographical account

To write an exciting real life account

Past continuous active and passive

4 Real-life diaries

Diary

To write thoughtfully about everyday events

Past simple and past perfect passive

5 Whatâ&#x20AC;&#x2122;s my view?

Review

To write an informative review

Nouns and adjectives + preposition

6 My world in a poem

Poem about everyday life

To write a poem about an aspect of your life

Exclamations with what and how

7 Building information

Informative and persuasive texts

To write an informative but engaging text

Passive voice

8 Summing you up

Summary

To write a concise summary

Conjunctions: addition and purpose

9 Applying yourself

Letter of application

To write an effective letter presenting your personal qualities

Present perfect for experience

10 Precious verse

Poem

To write a poem about objects with personal meaning

Defining relative clauses

11 Reporting danger

News report

To write an effective news report

Passive voice tenses

12 Dramatic relationships

Play

To write a play script about a relationship

Question types

Unit

Contents Original material ÂŠ Cambridge University Press 2019

Vocabulary

Other language

Speech verbs

Punctuation: capital letters for official titles

Prepositional phrases

Punctuation: commas

Collocations and expressions

Punctuation: parenthetical commas, dashes and brackets

Verb + noun collocations

Punctuation: semicolons

Adjectives to describe films

Punctuation: colons

Phrasal verbs

Punctuation: commas for pauses

Punctuation: colons

Extreme adjectives and compound adjectives

Punctuation: commas after conjunctions

Verb + prepositions

Punctuation in emails

Adjectives to describe conditions

Punctuation: hyphens

Collocations

Cohesion: reference

109

Delexical verbs

Writing: speech sounds

119

Synonyms

Page number

Contents Original material © Cambridge University Press 2019

How to use this book

Here you can see your objectives for this unit if you are a first language English learner.

1 Making myths

Writing objectives for first language English In this unit, you will: • •

create and control effects by drawing on your own vocabulary experiment with different ways of structuring and presenting texts for different audiences and purposes.

Myth

How can I develop an idea from real life into an exciting account?

Many ordinary people have had exciting or frightening real-life experiences, such as a dangerous encounter with an animal, being caught in a weather event or natural disaster, or even something everyday such as getting lost in a strange part of a city. Have you or has someone you know had such an experience? Talk about it with a friend. What happened? How did it begin and end?

A This lists the main features found in an effective example of this type of writing.

Effective autobiographical accounts A good autobiographical account could: • include moments that leave a lasting impact on the reader • explain how the incident or experience began, developed and ended

• provide a clear, personal perspective on the events

The unit is divided into five sections. The first section is called Reading. It focuses on a text extract that is typical of the type of writing covered by this unit. Texts include literature.

Writing and Use of English objectives for second language English In this unit, you will: •

use past, present and future simple tenses

•

learn verbs for direct speech

•

spell common vocabulary correctly – use capital letters for proper nouns.

Legend

Key terms that you will learn:

Each unit begins with a Big Question. This helps you to think about any knowledge you already have on the themes and subject of this unit.

If you are a second language English learner, you can see your objectives for the unit here.

Your writing aim for this unit: To shape your own story using the basics of a well-known myth

The aim shows you the type of writing that you will look at in this unit.

Unit walkthrough

• read like a very good story – with characters, action, and setting.

Key terms autobiographical: about your own life perspective: a particular viewpoint

Reading In the following account, Richard Branson, a famous businessman, is on holiday with his wife, Kirsten. They have persuaded a local fisherman to take them out, despite the threat of a bad storm. 1 As you read the text, think about these questions.

Moral

Quotation

Making a deadly choice The fishermen started up the engine to head home, but rather than heading back to the shore the boat started drifting around in circles. The rudder had jammed. The sea rose around us, and the waves started breaking over the stern. Kristen was shaking uncontrollably. We were soaked through, and freezing cold. The storm clouds completely blocked out the sun and it became dark, so dark that it might have been night. We went down into the tiny cabin, which was full of smoke from the engine. One of the tourists was sick. I opened the window, but the smell of vomit and diesel remained. The boat was being so badly smashed up that we were sure she would sink. After an hour of the worst storm any of us had ever experienced, the wind and rain abruptly stopped. The sea was still running very high, with the waves towering over ten feet above us. It was eerily still. We must have been in the eye of the storm. For a while there was bright sunlight. Then we saw the other side of the storm coming, a solid black line above the horizon, growing more threatening as it came nearer. ‘Richard, I think we should swim for it,’ Kristen said. ‘This boat won’t take another storm.’ ‘You’re mad,’ the other tourists said. ‘Stay on board.’ Kristen and I agreed that the boat wouldn’t survive another pounding. We argued with the fishermen and the tourists, who disagreed. The shore was about two miles away. The sea around us was an ugly, matt black colour, swelling high and boiling, with white foam flecked across the surface. I was terrified but I decided that Kristen was right. She had been a good long-distance swimmer at school, and she gave me the only pair of flippers on board. We stripped off to our underwear, and the fishermen gave us a plank of wood. We all wished each other the best of luck and then Kristen and I jumped overboard. Almost immediately the current swept us past the boat and up the coast. We lost sight of the boat and concentrated on kicking out for the coast, which we could see only from the tops of the waves. Kristen led the way and I tried to keep up with her. As well as fishing for marlin, we

a Why do you think Branson chose to write about this event? b What did Branson and his wife decide to do when the storm came – and why?

30 Unit 3 Autobiographical adventures

How to use this book Original material © Cambridge University Press 2019

Coloured words in the text and the Key box relate to English language terms that you will learn about later in the unit.

Keep these questions in mind when you are reading the text for the first time. They help you to see the purpose behind what Unit 3 Autobiographical adve you are reading.

Coloured words in the text and the Key box relate to English language terms that you will learn about later in the unit.

Autobiographical adventures

collocations and expressions

Glossary rudder: large, piece of wood, plastic or metal used to control a ship’s direction stern: back, or rear end of a boat/ship marlin: a large fish with a long, pointed nose and mouth

flotsam: material that floats in the water (from a shipwreck, for example)

Do you remember what makes a good autobiographical account? Here is how the writer makes it work. He: • explains the situation and how the memorable experience began

• develops the drama by explaining the consequences • describes the action in vivid detail

M Text analysis

Lafcadio Hearn wants to give an accurate account of his experiences in Japan.

1 How is this sort of diary entry different from one that might be written by a teenager in today’s world?

To some extent, the diary entry is a straightforward account of the day. But what does it cover exactly?

Key term boxes highlight new or important language that you will work on in the unit.

• explains the aftermath – how the characters felt and acted.

Key term

aftermath: what happens after an event

From Losing My Virginity by Richard Branson

Reading closely

The activities in this section will break down the text into paragraphs and individual words, and helps you to analyse them.

This list helps you to develop an appreciation of the type of text that you have just read.

How the text works

Unit 3 Autobiographical adventures

Text analysis is the second section of the unit. Here you will learn about the structure of the type of text that you have just read.

Glossary boxes help to explain difficult or unusual words or phrases in the text. They are highlighted in red.

parenthetical commas

The Teacher’s Resource includes work on writers’ effect.

Key language features past continuous

Authentic texts are more challenging than those typically found in an ESL course.

had also been on the lookout for sharks, and as we swam I started imagining that the first thing I would feel would be a vast fish rearing up beneath me, knocking me sideways just as the marlin had dealt with my bait, and ripping into my stomach and legs. ‘Don’t kick too hard,’ Kristen shouted in my ear. ‘You don’t want to get cramp.’ We swam across the current, not worrying that we were being carried up the coast just as long as we weren’t being taken out to sea. Slowly we came closer. We had been in the water for almost two hours before I knew that we would definitely make land. The coast was at first just a smudged green line, then we could see the trees, and finally a mud beach. Even after we could see the beach it took us another hour to get there. We hauled our way up through the surf and collapsed on to the sand. We had swum in the stormy sea for almost three hours. We were freezing cold, and our hands and feet were white and wrinkled. We clung on to each other, and told ourselves that after that we would always be together. ‘We’ve got to get back down to the port,’ she said. ‘We’ve got to get a rescue party out to save the boat. They might have a lifeboat.’ We started running down the peninsula. We had to fight our way through some mangrove swamps and finally arrived in the tiny port after an hour, half-naked, trembling with shock and exhaustion, and with our feet bleeding. At the port we found the captain of the local car ferry and Kristen explained to him that there was a boat out at sea in trouble with a jammed rudder. He agreed to go out to try to rescue the fishing boat. He lent us some clothes and at once we set out to sea. Within fifteen minutes the second storm hit. It was far worse than the first one and it picked up the car ferry, which was a big, heavy boat, and tossed it around like flotsam. We couldn’t believe that after our first escape, we were back at sea in the storm. After ten minutes, the captain told us that he was turning back. It was hopeless. Although we wanted to go on, we could see that the ferry was in danger of capsizing.

2 Work with a partner to copy and complete these labels/captions and see if you can ‘pin’ them to the relevant section of the diary entry.

-shot

the purpose of the pistol

a fiery castle

girls like butterflies

the spectacle of the dumb-bells

the location of the sports day

who was taking part

three cheers

Sakane – the best runner

other funny races 3 The function of the first paragraph is to set the scene precisely, in order to help Lafcadio, or anyone else, get an accurate picture of the day. Make a list of all the information he gives about the setting. For example: a Broad castle grounds of Ninomaru b circular race track. 4 Now, using this information, draw a diagram of the setting and label it with words/phrases from the text. You will need to make sure you understand words such as ‘tier’. Use a dictionary to help you.

5 Now, let’s look at how the rest of the information is organised. Work to answer these questions in a small group. a The writer is rightfully proud of Sakane. In the third paragraph, what three bits of evidence suggest that he is an outstanding athlete? b In the fourth paragraph, the writer mentions more unusual types of game, one that involves pairs of students, and three that involve the girls. What are these games? c One paragraph begins by describing the ‘tug of war’ but it is another event in the same paragraph that creates a very strong impression on the writer. What is it and how many students take part? 6 An important aspect of a personal account such as this is the writer’s own viewpoint and our sense of his voice. a In the first paragraph, the number of participants and the size or splendour of the setting make a great impression on the writer. i

Can you find three synonyms meaning ‘big’ or ‘very big’?

ii Can you find three synonyms meaning ‘impressive’?

Did you know? Don’t forget, a synonym is a word or phrase that is very similar in meaning to another (for example, ‘small’ and ‘little’).

Useful facts relating to the text type or writing can be found in the Did you know? boxes.

b In the following extract, the writer’s pride in Sakane is expressed. … the best runner of all proved to be Sakane, of our own fifth class, who came in first by nearly forty yards without seeming even to make an effort. He is our champion athlete, and as good as he is strong – so that it made me very happy to see him with his arms full of prize books.

42 Unit 4 Real-life diaries

How to use this book Original material © Cambridge University Press 2019

What possessive pronoun does the writer use to show his ‘connection’ to Sakane?

ii What comparative phrase suggests that the writer thinks Sakane is also a nice person?

8 Think carefully and then answer these questions. a Look again at the first paragraph. How popular is the sports day as an event?

iii What adjective describes the feeling the writer gets when Sakane gets his prizes?

b In the paragraph about the dumb-bell performance, the writer repeats ‘six thousand’ four times. Why do you think he repeats this number? What is so striking?

Key term

c What is ‘curious’ about the game described in the penultimate paragraph? (Is it a sport? Or a piece of theatre? Or both?)

voice: the distinctive way in which a writer expresses his or her ideas

Tip

d Someone else who has read the diary said, ‘According to the writer, the sports day was a very serious event.’ Do you:

Using personal and possessive pronouns such as ‘I’, ‘we’, ‘our’, ‘my’, ‘mine’, etc. can create a sense of belonging in a text. Equally, speaking directly to the reader using ‘you’, ‘your’, etc. can create a direct connection with them.

Strongly agree Slightly agree

Slightly disagree Strongly disagree

Why?

React to the text 9 Work in pairs. Discuss these questions.

7 The writer also uses a number of rich images.

These discussion questions let you talk about your personal reaction to the text and add your own thoughts.

Thinking about the text

a He refers to the setting as looking ‘like a vast circus’. What does the choice of the word ‘circus’ suggest about the sports day? (Think about what the word ‘circus’ brings to mind – fun?) b He describes the girls in their hakama as ‘pretty as butterflies’. What does this simile suggest about the way they run or move during the games?

Glossary

a In the story, the writer has a particular interest in the boy from his own school. Have you ever attended a sports event where someone close to you (a friend or a member of your family) was taking part? How did they get on? How did you feel? b Which of the events mentioned in the extract would you have enjoyed taking part in? Why?

c In what ways does the writer create a vivid memory of the event? How does he:

rich: varied and full of meaning

• make it clear this is a recent event that has just occurred?

• give a full picture of the setting and event itself?

• present his own views and perspective?

Unit 4 Real-life diaries

The Use of English section looks at grammar or vocabulary in relation to the text type.

Use of English

Later in the unit you are going to write your own version of an Indian legend.

Revision: past, present and future simple tenses Grammar presentation

Simple tenses can be very effective in stories. It is useful to remember how to use them.

First of all, you will read about the new grammar or vocabulary in one of these presentation boxes. You will be asked to actively think about the grammar rules and use.

1 Complete the sentences with the verbs in the box. Then check your answers by looking back at the story on pages 10–11. raced headed

will unite led

came

stood

have

a You a chance to marry the Chief of Hana. our two families and b It keep the peace. out, c So saying, I clutching my surf-board under my along the arm and to winding track that the beach. d When the perfect one [a wave] ,I up on the board…

2 Which verbs in Activity 1 are irregular?

3 Choose the most appropriate tense to complete what the characters from the story on pages 10–11 say. a ‘And tomorrow I go / I’ll go surfing as usual,’ said Kalea. b ‘All you ever want / will want to do is / was to go surfing,’ Kalea’s father said. c ‘I am / was worried about you when I see / saw the storm. That’s why I run / ran down to the beach to find you,’ Kawao told her. d ‘I don’t understand / didn’t understand why you didn’t marry / won’t marry the Chief of Hana,’ her father said. e ‘When I meet / I’ll meet a man who loves / will love the ocean like I do, then I think / I’ll think about getting married,’ Kalea insisted. 4 Complete the summary of the legend of Kalea with the correct tense of the verbs in brackets. In the legend, Loale, the chief on Oahu (a)

(kidnap) Kalea and

(b)

(take) her to the

mountains far away from the sea. After several years, she (c)

(beg) Loale to let her be nearer the ocean. ‘I (e)

Tip

(not stay) here

any longer. I (f)

(demand)

to be allowed to go to the coast,’ she told him, so he (g)

(let)

her go. Once there, she immediately (h)

Make sure you know the different forms of the irregular verbs in English. You can find a table of irregular verbs on the internet or in a dictionary.

(long)

to go surfing so she (d)

(borrow) a surf-

board and (i)

(begin) to

demonstrate her skills. ‘I (j) (show) these locals how it’s done,’ she thought. A local chief called Kalamakua (k)

(see) her and was

captivated by her talent and her beauty (l)

14 Unit 1 Making myths

How to use this book Original material © Cambridge University Press 2019

This is followed by lots of activities to help you practise the new language.

Each unit includes one grammar section and one vocabulary section.

Vocabulary: speech verbs

8 Here are some direct speech sentences from the Kalea story. Complete them with the person in brackets and a verb from Activities 5 or 6.

Vocabulary presentation When you use direct speech in a story, you should try to vary the verbs you use to mean ‘say’ or ‘ask’ as much as possible.

a ‘Kalea, watch out!’

5 Here are three speech verbs from the extract on pages 10–11. Match them to their definitions i–iii.

c ‘I suppose you’re right,’ (Kalea)

a ‘Kawao,’ he sighed, gesturing at my brother who was sitting on a long log

d ‘What do you want?!’ (Kalea’s father)

b ‘Keep the peace?’ I scoffed.

e ‘I don’t know what to do with you, Kalea,’ (her father)

c ‘Are you hurt, Kalea?’ he cried, his face creased with worry. i

(Kawao)

b ‘Why don’t you use my board?’ (a surfer)

Punctuation: capital letters for official titles

say something mockingly or showing no respect

ii call out loudly

You may also find a cohesion section focusing on connectives, pronouns etc. that help you to write better texts.

Punctuation presentation

iii say something while breathing out to express sadness or impatience

For official titles (royalty, heads of state, nobility and military titles), we use a capital letter for the title when it goes before the name (President Morgan, Prince Muhammed, General Yuwen). When the title doesn’t replace the name, we don’t use capital letters (five presidents, a prince, all the generals).

6 Which verb is most descriptive?

9 Correct the mistakes with capital letters in these sentences.

a All the Captains saluted the Generals. b The Duke and duchess of Cambridge are visiting Malaysia.

7 What do the following speech verbs mean or how would you use them? Use a dictionary if necessary. a call

b whisper

c growl

d yell

e suggest

f admit

g scream

h wonder

c I’ve never met the President or prime minister of any country. d The sultan of Johor and sheikh Abdullah are meeting next week.

e This is Hassan. He’s a Commander in the navy.

Unit 1 Making myths

Guided writing is the fourth section. This will guide you step-by-step through a writing activity that is related to the text type.

Guided writing

You see the following notice in your local newspaper:

YOUNG POETS: COMPETITION THEME: The little things: joy and pain. Send us a poem of six verses.

You will be presented with a model task to complete.

We’ll publish the best poems in our special summer edition.

The first step is to brainstorm and plan ideas for your writing.

This will include opportunities to plan collaboratively with other students.

There will be opportunities for you to refer back to the model text extract. This will help you with ideas for your own writing.

Write a poem and send it in to the competition.

Think/Plan 1 Work alone and brainstorm ideas for ‘little things’ in your life that bring you joy and things that irritate or annoy you. Think about some of these areas of your life. • being alone • going to school • spending time with friends • going out • spending time in nature • food, eating and drinking • school subjects • family life • technology.

Then work in pairs and tell your partner your ideas. Do you and your partner share any joys or pains?

Helpful Tips relating to grammar and writing can be found in each unit.

Tip Sometimes it helps to work on your own and generate your own ideas before discussing them in pairs or groups. 2 Now, with the help of your partner, choose the best three of each, joys and pains, and expand on these initial ideas. Discuss them and make notes.

You willl also think about the structure of your writing.

3 Think about different ways to organise your verses. You should have one verse for each joy and pain. You can use one of these ideas: • Alternate: joy – pain – joy, etc. • 3 × 3: joy – joy – joy – pain – pain – pain • Contrast: joy – contrasting pain, or pain – contrasting joy. In this structure, pairs of verses will discuss the same thing, giving contrasting views. For example, you love when your friend comes to visit and you can gossip (joy). But you can’t stand it when your friend has nothing new to tell you (pain)!

Useful language Exclamations: What joy I feel … , How happy I am … , How delightful it is … , What a pain it is … , What misery I feel … , How fed-up I get …

Useful language boxes provide words and phrases that will help with your writing.

Synonyms: joy / sadness, bliss / misery, happiness / dismay, delight / heartache, satisfaction / sorrow

66 Unit 6 My world in a poem

How to use this book Original material © Cambridge University Press 2019

You will work intensively on writing just one part of the text type.

Write: first verse

Write: finish the poem

Write the first verse.

Write the rest of the verses following these steps.

4 Start by writing a normal sentence about something small that gives you pleasure on a daily basis. For example: I love it when my favourite song comes on, it really cheers me up.

Things to remember offers a reminder of the important points that you should cover in your writing.

Things to remember when writing a poem about your daily life • Choose some very simple experiences from your everyday world to write about. • Describe an experience in each verse. • Improve your work by thinking of more precise vocabulary using appropriate synonyms. • Think of a refrain for your poem that provides rhythm and structure.

The unit includes opportunities for selfassessment. This will help you to develop responsibility for your own learning.

• Try to reveal aspects of your personality through the verses.

Check your first draft When you have finished writing, review your work. 5 Work in small groups.

• Add details and try to make it sound better by using synonyms. Use a structure you can turn into a refrain.

How delightful it is when I’m on my own and my favourite song comes on just when I’m feeling down. • First, read your sentence a few times and mark where you pause. • Experiment with changing the word order or the order of the clauses.

How delightful it is || just when I’m feeling down || and I’m on my own || my favourite song comes on.

• Try breaking the lines at the pauses to write a verse, and insert commas where you want to highlight the pauses. How delightful it is when I’m on my own, and just when I’m feeling down, my favourite song comes on.

• Read your poem aloud to the group – reading aloud helps you to judge the rhythm. • Share your poem with the group and discuss ways it could be improved. Focus on improving the vocabulary to make it more precise.

You will also learn to edit and then redraft your own writing.

Now write a second draft of the poem.

Peer assessment

Focus on the aspect you have been asked to consider and nothing else – in this case the vocabulary. It’s important to stick to the criteria to make your feedback more effective.

Unit 6 My world in a poem

The Peer assessment boxes allow you to collaborate with other students and reflect on each other’s work.

Independent writing is the final section. Using all the information that you have learnt in the unit, you can now complete an entire writing activity on your own.

Independent writing

Write a poem about your daily life. Write at least six verses. Choose one of these possibilities or use your own ideas. • Silly things people say • Nature around me

• Things of beauty

Follow these stages.

The word limit for your writing activity is provided.

Stage 1 Generate ideas. Think about the topic and make notes about things you would like to write about. Include reasons in your notes.

Editor’s checklist

• What will each verse talk about?

Check • that your ideas are organised into paragraphs • your spelling and use of capital letters • punctuation, especially in direct speech • the grammar is correct – exclamations with How and What.

• Think of a refrain.

The unit ends with a progress checklist where you can reflect on your own learning.

• Have you got a refrain that gives it rhythm and structure? • Have you written sentences with several clauses? • Can you improve the vocabulary to make it more precise? • Have you analysed the pauses and experimented with where to break your sentences to make each line of the verse? • Have you used commas for pauses?

Stage 2 Put your ideas into a plan. Use a table to plot the verses and the ideas. • What vocabulary will you use?

Each Independent writing activity has a choice of writing tasks. This will help you to access the right one for you.

Writer’s checklist: poems about everyday life

Stage 3 Write the verses of your poem, following your plan. Use the checklist to make sure your poem reflects your experiences.

Final draft Once you have completed your poem, make a video of yourself reading the poem and post it on your blog or the class website. Use the checklists above, or go back through the unit, to see if you have applied all the skills you have learned.

Check your progress I can:

Needs more work

Almost there

All done!

write a personal poem about simple experiences from my everyday life shape and form the poem to create meaning and use a repeating refrain for rhythm use precise vocabulary to match my purpose develop rhythm by using line breaks and commas for pauses.

68 Unit 6 My world in a poem

How to use this book Original material © Cambridge University Press 2019

The Writer’s checklist is a final reminder of what you covered in the unit and what you should include in your writing.

The Editor’s checklist is a final reminder of how to edit and proofread your writing.

Final draft suggests what you or your whole class can do with your finished writing.

LE P

1 Making myths

Your writing aim for this unit: To shape your own story using the basics of a well-known myth

Writing objectives for first language English In this unit, you will:

• create and control effects by drawing on your own vocabulary

• experiment with different ways of structuring and presenting texts for different audiences and purposes.

Key terms that you will learn:

myth

Writing and Use of English objectives for second language English In this unit, you will: • use past, present and future simple tenses • learn verbs for direct speech • spell common vocabulary correctly – use capital letters for proper nouns.

legend

moral

quotation

1 Original material © Cambridge University Press 2019

How can I use a myth to develop an interesting story?

1 As you read the text, think about these questions. a How does the writer make the reader interested in Kalea?

Key terms

myth: a traditional story which often explains powerful events and may feature supernatural elements

Kalea, princess of the waves ‘Well,’ said my father, sitting in his high-backed chair. ‘Which one of the great chiefs will you choose? What about the Chief of Hana?’ I didn’t reply. Above us, I could see the highest mountain on the islands, the volcanic Haleakala, shrouded in grey cloud. A storm might be coming. This was rare but it matched my mood: I didn’t want any of the old men my father had proposed. Since early childhood, I had had the freedom of the island, swimming in the emerald sea, chasing my brother Kawao over the golden sand. I knew deep down that I had been spoilt and couldn’t remain a child forever, yet marrying some chieftain from another part of the island was the last thing I wanted to do. My father’s face darkened like the sky above the swaying palm-trees. ‘Kawao,’ he sighed, gesturing at my brother who was sitting on a long log, trying to keep out of the argument. ‘Make her see sense!’ ‘It’s true, Kalea,’ he said. ‘Father is right. Our kingdom is under threat. You have a chance to marry the Chief of Hana. It will unite our two families and keep the peace.’ ‘Keep the peace?’ I scoffed. ‘If I ever marry it will be to a prince who loves the sea and surf as much as I do, not to some boring old law-maker! For now, the only husband I want is my onini.’ So saying, I raced out, clutching my surf-board under my arm and headed along the winding track that led to the beach. Even before I reached it, I could hear the waters of the Auaa Channel surging wildly under the breath of the south-wind, the kona. My heart leapt as I saw the giant waves, falling in a froth of emerald and silver. I plunged into the surf and lay flat on my board, paddling away from the shore. Here was my home, the place I cherished dearly for the pull of the current, the taste of the salt and the sun bronzing my limbs. No one in my father’s

legend: also a traditional story, but may be considered historically true

b How does the situation turn out for her?

Why is it that old myths and legends are retold many times in book form or in plays or in films? Can you think of old legends or myths from your own culture which have been retold for modern audiences? Were they told in the same way – or were things changed or developed?

Effective stories based on myths or legends A good retelling of a well-known myth or legend should:

• develop the basic plot or key moments of the original story • keep the core themes and ideas, which may include a moral or message

• develop the characterisation of the main character • use direct speech to give the story more immediacy.

Key term

moral: a lesson about how to behave (or not to behave!)

Reading

The following extract comes from a story based on the Hawaiian legend of Kalea, a young princess on the island of Maui. In this extract, her father asks what she thinks of the suitors who have come to request her hand in marriage.

10 Unit 1 Making myths Original material © Cambridge University Press 2019

Key language features

Glossary

Past, present and future tenses

suitor: someone who seeks to marry another person

Speaking verbs

onini: Hawaiian word for surfboard

Proper nouns that require capital letters

charcoal: burnt, blackened stick used for drawing

How the text works

kingdom commanded the waves as I did. Even now, under the darkening skies, I did not want to return. All my thoughts were on the next big wave, the one that would carry me like a flying horse through the air. When the perfect one came, I stood up on the board and allowed the billowing water to lift me. Suddenly I was racing along, the wave curving over me, challenging me to go faster than ever before. But just as I reached my highest speed, I heard a crack of thunder. A spear of lightning arrowed from the sky. For a split-second, I lost my concentration. I wobbled and tottered around. Could I stay standing, or would I be swept away, pulled under the churning waters? I flung myself onto my front and clutched the board with my hands. At that moment, the giant wave exploded over me, and sent me hurtling for the shore. All I could do was hang on for dear life. The sloping beach hit me like a wall. Where was I? The breath had been knocked out of me, and I lay on my back gasping, staring at the black clouds that raced across the sky. I’d made it! Half-conscious, I stared again. The clouds seemed to be forming themselves into a face, a shape, a body. A body! Could I be imagining it? My heart pounded. It was a young man, a handsome man. He was in a canoe, furiously plunging his oar into the waves. But then the image vanished. The black clouds dissolved and the sky turned an instant blue. I gradually pulled myself up. My brother appeared, running onto the beach. ‘Are you hurt, Kalea?’ he cried, his face creased with worry. ‘No, Kawao,’ I said, slowly, looking at the volcano which was now as clear as a charcoal drawing. ‘Everything is fine.’

Do you remember what makes a good retelling of a myth? Here is how the writer made it work. He:

• has taken a single moment from the myth and developed it • has developed the character of Kalea through thoughts, speech and action

• has kept the core ideas – Kalea’s defiance, and love of the sea

• has helped the reader experience the scene as it happens with direct speech and descriptive details.

From Kalea, Princess of the Waves by Mike Gould.

4 This passage is made up of the island setting, Kalea’s feelings, and the behaviour of people around her. Each of these things means that the writer has had to choose suitable vocabulary.

1 What do you think are the key ingredients of a good story? Jot down three to four ideas. (For example, is it important to know how a character feels?)

Reading closely

3 Based on what you have found out, which of these would be correct statements about all the additional information the writer includes? a There is a volcano on the island called Haleakala. b Her father wants her to marry the Chief of Hana. c Her brother doesn’t support his father. d Kalea says her true husband is her surf-board. e Kalea doesn’t show any interest in marrying anyone. f Kalea saves herself by lying flat on her surfboard. g She tells her brother what she saw in the clouds.

Text analysis

2 Here are the basic plot details as they might be written in a simpler version of the original myth.

Kalea refused to accept any of the Chiefs her father suggested and preferred to spend time surfing. How is the ‘new’ version different? What star quality is added to the original to make it shine?

For each of these basic plot ‘stars’, copy and add at least two things provided by the author, such as new characters, details about other people, use of speech, etc.

Speaking to her father

a The writer uses lots of words related to the sea and its force. Complete these sentences explaining what each word or phrase means. i

If water is surging it means it is

ii If a wave is curving it means it is . iii If your breath is knocked out of you it . means that iv If you are hurtling, it means you are

Surfing in the sea

1 She tells her father why she won’t marry.

. Lying on the beach

b We see how Kalea speaks and acts and how others respond to her. Match the following verbs or adjectives from the passage to the word/phrase that is closest in meaning in each case. i

(my father) sighed

ii his face creased with worry lined red pale iii My heart pounded thumped clattered

c Kalea reflects on her situation at various times. Working with a partner, find these phrases and discuss what each one means. i

it matched my mood

c At the end of the passage, Kawao appears on the beach to check on his sister. What evidence is there in the passage that he is not as bold as his sister? Think about: what Kalea says about herself

ii what Kawao does – or doesn’t do.

React to the text

6 Work in pairs and discuss these questions. a What impression do you get of Kalea based on this passage? Write a paragraph together in which you: • explain what sort of person she is

d The writer uses a number of powerful similes or metaphors to describe the setting and the events. i

iii Kawao likes the Chief of Hana and thinks Kalea will like him too.

ii the last thing I wanted to do iii I cherished dearly

ii Kalea always listens to her brother and does what he says.

shook

He thinks Kawao will be able to make her understand the situation.

stated roughly breathed out sadly inquired cunningly

Kalea describes being carried by a wave ‘like a flying horse’. In what way is this an effective comparison?

ii What description does the writer use to describe the lightning bolt that comes down? Why is it effective?

Thinking about the text

The text is mainly about Kalea but we also find out about other characters and about the island as a whole. 5 Think carefully and then answer these questions. a When Kalea says ‘I knew deep down that I had been spoilt’, what does that suggest about her parents? b Why do you think Kalea’s father turns to her brother when she won’t reply? Choose one of these options:

• include at least one quotation or example to support what you say.

b Why do you think the author includes the final idea of the vision Kalea sees in the clouds? What does it add to the story? c How would you feel if you were in the same situation of surfing and a storm coming? d In what way do you think the extract is effective in making Kalea come to life as a character? Think about whether the writer tells us how she feels, and what we find out about her as a person.

Key term quotation: words chosen from the passage that you use in your own writing. You must place them inside quotation marks or inverted commas (for example, Kalea seems slightly disrespectful to her brother when she ‘scoffed’ at his comments.)

Use of English Later in the unit you are going to write your own version of an Indian legend.

Revision: past, present and future simple tenses

1 Complete the sentences with the verbs in the box. Then check your answers by looking back at the story on pages 10–11.

led

stood

have

d ‘I don’t understand / didn’t understand why you didn’t marry / won’t marry the Chief of Hana,’ her father said. e ‘When I meet / I’ll meet a man who loves / will love the ocean like I do, then I think / I’ll think about getting married,’ Kalea insisted.

4 Complete the summary of the legend of Kalea with the correct tense of the verbs in brackets.

headed

came

c ‘I am / was worried about you when I see / saw the storm. That’s why I run / ran down to the beach to find you,’ Kawao told her.

Simple tenses can be very effective in stories. It is useful to remember how to use them.

will unite

a ‘And tomorrow I go / I’ll go surfing as usual,’ said Kalea. b ‘All you ever want / will want to do is / was to go surfing,’ Kalea’s father said.

Grammar presentation

raced

3 Choose the most appropriate tense to complete what the characters from the story on pages 10–11 say.

a You a chance to marry the Chief of Hana.

In the legend, Loale, the chief on Oahu (a)

(kidnap) Kalea and

out, c So saying, I clutching my surf-board under my along the arm and to winding track that the beach.

(b)

(take) her to the

our two families and b It keep the peace.

d When the perfect one [a wave] ,I up on the board…

2 Which verbs in Activity 1 are irregular?

mountains far away from the sea. After several years, she (c) to go surfing so she (d) (beg) Loale to let her be nearer the ocean. ‘I (e)

(not stay) here

any longer. I (f)

(demand)

to be allowed to go to the coast,’ she told him, so he (g)

(borrow) a surf-

board and (i)

Make sure you know the different forms of the irregular verbs in English. You can find a table of irregular verbs on the internet or in a dictionary.

(let)

her go. Once there, she immediately (h)

Tip

(long)

(begin) to

demonstrate her skills. ‘I (j) (show) these locals how it’s done,’ she thought. A local chief called Kalamakua (k)

(see) her and was

captivated by her talent and her beauty (l)

Vocabulary: speech verbs

8 Here are some direct speech sentences from the Kalea story. Complete them with the person in brackets and a verb from Activities 5 or 6.

Vocabulary presentation When you use direct speech in a story, you should try to vary the verbs you use to mean ‘say’ or ‘ask’ as much as possible.

a ‘Kalea, watch out!’ b ‘Why don’t you use my board?’ (a surfer)

b ‘Keep the peace?’ I scoffed. c ‘Are you hurt, Kalea?’ he cried, his face creased with worry. i

say something mockingly or showing no respect

d ‘What do you want?!’ (Kalea’s father)

e ‘I don’t know what to do with you, Kalea,’ (her father)

Punctuation: capital letters for official titles Punctuation presentation

ii call out loudly

c ‘I suppose you’re right,’ (Kalea)

5 Here are three speech verbs from the extract on pages 10–11. Match them to their definitions i–iii. a ‘Kawao,’ he sighed, gesturing at my brother who was sitting on a long log

(Kawao)

iii say something while breathing out to express sadness or impatience

6 Which verb is most descriptive?

7 What do the following speech verbs mean or how would you use them? Use a dictionary if necessary. a call

b whisper

c growl

d yell

e suggest

f admit

g scream

h wonder

9 Correct the mistakes with capital letters in these sentences. a All the Captains saluted the Generals. b The Duke and duchess of Cambridge are visiting Malaysia. c I’ve never met the President or prime minister of any country. d The sultan of Johor and sheikh Abdullah are meeting next week. e This is Hassan. He’s a Commander in the navy.

Guided writing

A local English-language magazine has posted the following message to its readers:

You have decided to submit your own version of part of this Indian legend.

Mahabharata

The Indian epic Mahabharata includes a story about the preparations for the Kurukshetra War, a struggle for power between two groups of cousins, the Kauravas and the Pandavas. Two opposing princes were gathering huge armies so they both went to see Krishna, the king of Dwarka. Krishna was wise, but he also had a strong, experienced army of 10,000 men and his help would be crucial to either side. Krishna was asleep (some say he was pretending to sleep) with his usual smile. Duryodhana of the Kauravas arrived first and sat at Krishna’s feet, but as he waited he thought about how superior he was to Krishna, so he moved and sat by Krishna’s head. Arjuna, who was a follower and great admirer of Krishna’s, arrived and immediately went to stand by his feet as a sign of respect. When Krishna woke up, he told the princes that he would give one of them his army. To the other he would only give his moral support, refusing to fight. Since Arjuna was younger, Krishna gave him the first choice and he immediately opted for Krishna’s support. Duryodhana, foolishly, thought that Arjuna had made the wrong choice and was delighted to have Krishna’s army.

You have decided to write part of the story after Duryodhana enters Krishna’s room to find him asleep.

Think/Plan

1 Work in pairs. Generate ideas for your stories using the questions to help you. a What does Duryodhana do when he enters the room? Why do you think he does this? What is he thinking?

b Why is Arjuna’s behaviour different? What is he thinking? c Why do you think Arjuna immediately chooses Krishna to be on his side? d How does the episode show Krishna’s wisdom and Duryodhana’s foolishness?

2 Now organise your ideas. Use a timeline to put the events and conversations in order.

Tip You could use the star quality strategy (as on on page 12) to plan the main plot points.

Linkers: After that, Before long, Soon enough, After a while, All of a sudden, With that Speech verbs: answered, commented, cried, scoffed, inquired, replied, called, yelled, whispered, sighed, growled, suggested, admitted, screamed, wondered

Write: getting started

• First, describe what Arjuna does when he walks in. • Describe the scene around Krishna’s bed. • Explain what happened when Krishna woke up. • Write the conversation in which Duryodhana and Arjuna try to convince Krishna to join their side.

Things to remember when writing an interesting story

• Take a single moment from the story and write it in more detail. • Keep the core ideas in the story.

• Develop the characterisation through direct speech, their thoughts and actions.

Modal verbs: That may be but…, It could have been…, It must be…, Maybe I should…, I might/could be…

4 Write the next part of the extract. Arjuna now arrives.

Useful language

Write: description

Since you’re only writing part of the story, there’s no real need for an introduction or beginning, but it will help the reader if you start in a logical way. Decide from which point in the story you are going to start.

Write the first part of the story, following your notes.

3 Here are some ideas. Choose one and follow these steps. a As Krishna was taking his usual afternoon nap, Duryodhana walked in.

b Duryodhana sat at the end of Krishna’s bed. c Duryodhana was fed up but all he could do was wait. • Describe the event that begins the story and conditions the other actions. • Using direct speech, write Duryodhana’s thoughts as he waits for Krishna to wake up. • Describe what Duryodhana decides to do.

• Use modal verbs of possibility to speculate about situations that occur in the story. • Vary the speech verbs that you use with the direct speech.

Check your first draft When you have finished writing, review your work. 5 Work in groups. • In pairs in the group, read your stories aloud. You and your partner can roleplay the dialogue between you. • Discuss the stories in your group – try to be helpful and suggest ways to improve them. Now write a second draft of the story.

Peer assessment Maybe you could add … Tell your partner one thing they could add to their story to improve it.

Independent writing

Writer’s checklist: myths and legends

Write an adaptation of a myth or legend of 250–300 words. Write at least three paragraphs.

• Have you described a specific moment in the story?

Choose a myth or legend that you know or rewrite one of the myths in this unit. Follow these stages.

Stage 2 Put your ideas into a plan, using a timeline or stars. • Who are your main characters? What are they like?

• Have you used direct speech with a variety of speech verbs?

• Have you used different tenses to tell the story?

Editor’s checklist

Check • that your ideas are organised into paragraphs

• What is (are) the main piece(s) of action in the story?

• Have you kept the core ideas in the story?

Stage 1 Generate ideas. Work in groups and share myths or legends that you already know. Make notes and choose an episode in the story that you can write more about.

• Have you developed the characters through dialogue, thoughts and action?

• Where will your extract begin and end?

Stage 3 Write your story in paragraphs, following your plan. Use the checklist to make sure your myth or legend is interesting!

• your spelling and use of capital letters • punctuation, especially in direct speech • that the grammar is correct – past, present and future tenses, subject–verb agreement.

Final draft Once you have completed your story, post it on your blog or the school website. Use the checklists above, or go back through the unit, to see if you have applied all the skills you have learned.

Check your progress I can:

Needs more work

generate ideas and plan part of a myth or legend using a timeline or stars develop characters through dialogue, thoughts and actions use a variety of simple tenses use direct speech and a wide variety of speech verbs.

Almost there

All done!