ShackletonChocolate • Shackleton • Iceland • Cambodia • Letters Home
Chocolate
Objective: To explore the techniques of writing to recount and inform.
Starter: Introduce the topic of 'Journeys' - whole class: brainstorm possibilities of the word. Pupils then consider the last journey they took (to school/to holiday destination/school trip?). Write about one incident on that journey in 4 sentences. Feedback checking for concise writing.
Main/development: Project the example of writing to Recount (No. 3 in Non-Fiction textbook)
Pupils identify the similarities between their journey story and this example.
Hand out copies of writing styles to stick into books. Pupils identify which writing style matches their journey writing. Pupils could highlight/underline the recount techniques in their writing.
Project example of writing for Information (4)
Pupils identify the writing style from the table.
Plenary: In paragraph form, pupils write 3 pieces of information they know about chocolate. Feedback looking for techniques that match the writing styles table.
Objective: To explore the techniques of writing to explain and instruct.
Starter: Recap previous lesson's work on writing to recount and inform.
Main/development:
(The following extracts will need to be photocopied from 'the non-fiction book' Unit 1 pps. 8&9)
Explain (No. 6)
Instruct (No. 2)
Whole class: look at example of Explain. Pupils identify the matching writing style from the table and annotate. Is it straightforward? Could it have more than one purpose? Where might you see this style of writing?
Pair work: next example (Instruct). Identify from techniques in writing styles table.
Once identified, pupils should write a set of instructions on how to eat a Cadbury's Creme Egg and/or how to tie a tie.
Extension work: Recap previous work on writing to inform.
Combining Explain and Information - pairwork: choose a sport and answer the question: If you want to play xx, what do you have to wear?
Encourage pupils to answer this question first informally and then in 'better', more complex sentences as they might appear in a school's booklet. Eg from 'you need shin-pads' to 'because of this risk of injury to your shins, players need to wear shin-guards'.
You could choose to project photographs for inspiration.
Suggestions could be on the board, from which pupils have to select the most relevant or important, eliminating unnecessary points.
Plenary: Pupils read each other's work commenting on how effective the instructions are, with suggestions for improvement.
Objective: To explore the techniques of writing to persuade and argue.
Starter: Connectives (e.g. On the contrary: pg. 96 Red Hot Starters)
Main/development: Recap previous lesson's understanding of writing to explain and instruct.
Project/hand out copies of the final two examples. Pupils identify which is which of the remaining writing styles.
Persuade (5)
Argument (1)
Could you combine writing to argue and persuade together?
Write question on board: Should pupils be able to buy chocolate in school? Pupils suggest arguments for and against and possible persuasive phrases.
Write these suggestions on the board.
You could model the opening 2 sentences for each argument (for and against) and include a persuasive technique to get pupils started.
Short writing task: pupils construct 2 paragraphs that demonstrate both writing styles, using the earlier suggestions, if needed.
Plenary: Pupils read out work demonstrating a variety of techniques for both writing styles.
Shackleton
Objective: To explore different text types and their features in an introduction to Shackleton's South Pole Voyage.
Starter:
Look at this advert. South Pole Survival Starter - Pupils think of three reasons why might want to join a South Pole expedition. In pairs, persuade their partner why they should go with you. Hear a couple of examples and highlight the techniques used to persuade.
Main/Development:
Show image of Shackleton's boat marooned in ice. Explain that in the next three lessons we will be discovering the adventure of Earnest Shackleton who was a famous arctic explorer. What kind of person would embark on an expedition like this? What problems does the picture suggest could be encountered? - This may be a useful link in for lower sets in terms of the text types they will encounter in the next activity.
A3 Sheet featuring a range of fragments of texts types A-D. Can be read through as a whole class activity or in pairs/individually depending on the class.
Pupils must identify each text type - Where would you find it? What is the Aim / Viewpoint and Target Audience of each short extract?
One example could be modelled as a whole class activity to begin, then:
In pairs - support their decisions with one clue or piece of evidence from the text.
(Try to draw attention to levels of formality and use of personal pronouns. Is it descriptive or in note form? What does it looks like - e.g. a diary because of dates etc..)
This can be presented in a five column table in their book or as a matching exercise
Plenary: Feedback of findings.One text type per pair.
Lesson 5:
Objective: To explore how language choices reveal the purpose and tone of a text.
Starter:
Read through Shackleton Letter. (Diaries and Letters book)
Main/Development:
Introduce the idea that non fiction work can have elements of imagine, explore and entertain especially in adventure stories. This is because real life stories often capture the imagination of the audience and captivate because of their emotion involved in acts of courage and bravery. How do we learn about these as an audience? e.g. film, media, stories
For lower sets, photocopy and cut the letter into paragraphs and arrange as a sorting activity. Read through as a class.
Ask pupils to highlight the the purpose of the text. Is there more than one? Point to the fact that it is a personal letter but also a factual record of an expedition and an account of a historical event. Find the evidence to support their assertions. Look closely at the choice of words that highlight the different functions of the text. e.g. emotive language when referring to daughter... Link to PEE. They could write their own short paragraph.
Watch a short extract of Shackleton DVD (Kenneth Brannagh) up until the point where the cat is shot. They are to choose one character as they watch and follow that character through the scene. Note the key events and experiences of that person using a full range of senses and emotions. Create a spidergram/mind map
(Lower sets could focus on the character of 'Chippy'.)
Individually write a letter in role as their character. Think about purpose (to inform, explain and describe) and well as the intended audience.What language choices can they make to convey the mood and feeling?
Plenary: Hear one another's letters.
Lesson 6:
Objective: To write an autobiographical account of an adventure.
Starter: Formal and Informal Language. Create a line on the board ranging from Very Formal - Formal - Informal/Colloquial. Using a list of 10-15 words pupils organise them into the correct category.
Jubilation - Joy - Made Up
Immeasurable - Eternity - For ages
Familiarising - Getting to Know
Convictions - beliefs etc...
Main/Development:
Read the opening of the extract Touching the Void as an example of an autobiographical account
Sets 1 - 3 SMART SKILLS BUILDER: Readingpg. 41 -42
Sets 4 & 5 SMART SKILLS BUILDER: Reading Booster pg. 57 - 58
Focus on Sequence of the first two paragraphs, the opening and the ending. Highlight specific vocabulary, sentence structure, the tone of the piece and the verbs and adjectives that aid the description. They could find examples for each heading using whiteboards or recorded in their book.
The key areas to consider are (which could form the basis of a checklist):
How the action is portrayed
How the narrative is supported by description
How the account is structured chronologically
How the account ends
What is the effect of the first person narration?
What other perspectives might we be able to use?
You may want to watch a short extract from the video 'Touching the Void' to stimulate ideas.
Individually write three paragraphs in an similar style, using the checklist above, continuing the account of this experience. You may want to give the class some bones of the story.
Plenary: Read examples of each other's work so far and feedback one good sentence/paragraph to class. Compare with the actual account.
Lesson 7:
Objective: To write using recount information in an alternative text type.
Starter:
Active/Passive Voice Recap the difference betwwen active and passive voice. Using mini whiteboards the pupils identify active or passive from a list of 5 sentences. They can then turn some passive sentences into active or vice versa.
Main/Development:
Read the extract Hiker amputates his own arm
Sets 1 - 3 SMART SKILLS BUILDER: Readingpg. 39 - 40
Sets 4 & 5 SMART SKILLS BUILDER: Reading Booster pg. 55 - 56
Identify the text type. How do you know?
Highlight/Identify examples from the following list:
Passive Voice
Topic Sentences
Emotive language
Variety of Sentence Structure
Delaying the Subject
In pairs, using the information provided, write down six questions they would like to ask Aron Ralston.
They are now going to write a radio transcript featuring their questions and the responses they feel Ralston would make, based on the information they have read in the newspaper article. They will need an introduction to the interviewee and a summary of his story.
Plenary: Have selected pairs read and perform their scripts.
Lesson 8:
Objective: To write a South Pole Survival Guide using a range of presentational and Linguistic features. You may prefer to survive school dinners (in another school, obviously)
Starter: Sequencing Connectives. Compile a list of as many sequencing connectives as they can. (next, then, first, second, third, finally, meanwhile, after...) Go around the class using the connectives to recap the highlights of Shackleton's adventure as indicated through the photograph they have received. They should aim to be as descriptive and creative as possible.
Main/Development:
Read Essentials for Survival
Sets 1 - 3 SMART SKILLS BUILDER: Reading pg. 37 - 38
Sets 4 & 5 SMART SKILLS BUILDER: Reading Booster pg. 53 - 54
Ask them to quickly list the features of the text they can spot- use of directives, addressing the reader, rhetorical questions..
Which is the most effective? Write a sentence explaining why.
Their main task is to design their own survival guide for a South Pole Expedition. They are writing to inform and advise. Discuss what they will need to take account of - audience, purpose, formality, devices that make the text quick and easy to read and follow.
Use A3 paper or a double spread in their book
Plenary:
Present their work in small groups.
Iceland
First, pupils need to choose a place they know well and which they could write about. Write the name of the place down.
Starter: The theme of the starter needs to be imperative verbs. What are they? How do we recognise them? How are they used?
Main/development: Read Barrett's piece.
As a first response to this piece, find the imperatives which Barrett uses. Secondly, pupils need to be sure, in their own terms, what his key tips actually mean in practice.
We now move on to pair work. There are a variety of texts to choose from: Bill Bryson extract Congreve's Bath, the A46 and the mouth of the Thames. Your class needs to use two. (You may want to replace one piece with another example of travel writing, especially in 'lower' sets, for example this piece about Delhi.)
A pair of pupils is given a pair of texts. Individually, each pupil reads the piece allotted and finds examples in it of where Barrett's tips have been followed.
After an appropriate period of time, pupils report back their findings one to another in pairs.
Finally, pupils report back to the whole class. What we're looking for is examples in practice of what Barrett advises in theory. Keep it positive! Not all the pieces exemplify all the tips.
Plenary: ten minutes' travel writing about the place chosen at the start. Leave time for some to be read aloud and commented upon.
Lesson 10.
Starter: writing in the first, second and third persons. What are they? How are they different? When might they be used? What effect does each create? See example on 'teachit'.
Main/development: Teacher reads extract from All Points North to the class. Pupils share copies or follow on-screen You don't really ened to provide a huge number of copies; creating a need to listen carefully may be a very good thing here. [Print-friendy pdf here.]
Questions should be asked - SATs style, more or less! - as the text progresses. Most are asked before a section, some afterwards. [Here is a copy of the text with the questions inserted.] Pupils write their answers.
Bill Bryson link
Plenary: There is this 'long style' question for pupils to answer in their books. Leave time to review the answers and to 'mark' them in class.
You may choose to use the 'long' version of the Kathleen Jamie piece in your next lesson, in which case you must issue copies of it now to pupils (or ask them to print off their own copies from the website). They will need to have read the piece before the next lesson.
Lesson 11.
Starter: Class brainstorms things (objects, ideas, concepts) associated with 'the dark'. Divide these into 'good' and 'bad'. Can we draw any conclusions?
Main/development: Whether the pupils have read the whole article or not, the lesson begins with the teacher reading the extract to the class.
How to open paragraphs. Look at the first two sentences of each paragraph. How do they work? Short class discussion. [Think about how (1) sets time and place using two long sentences, a complex and a compound; how (2) adopts a chatty tone in short sentences to establish a narrative feel, (compound sentences being often conversational); how (3) is the most personal, using a short sentence and then a long noun phrase.]
Cohesion. How does the theme of 'light and dark' link these paragraphs and glue this piece together? Pupils discuss this in pairs, perhaps highlighting words and images- in two colours - associated with light and dark.
If pupils have read the whole piece, they should be able to discuss how this linking extends beyond this extract throughout the whole article.
Plenary: what advice can you deduce from this piece for composing paragraphs in a fluent and linked way? Express your advice as imperatives.
Lesson 12.
Begin by asking pupils to pick a country they know well. (Maybe their own!) They write it down.
Starter: modal verbs. What are they? How are they used? Which give the gentlest advice and which the firmest instructions?
Main/development: Read the website passage about Iceland. Identify imperatives and modal verbs. What's their function here? How does that opening work? (The Iceland Is ... bit.) Analyse each line. Decide how it works, how it appeals. Pupils write their own piece modelled on this piece based on their own chosen country.
This is persuasive writing. What actually persuades you here? Read and think. Consider the layout too of the website and the use of photographs. Pupils write a paragraph about what persuades them and how. They share it with a partner.
The class looks in a little detail at the way in which the first main paragraph is written, Pure Nature. They then recreate this piece for their own chosen country.
Plenary: Pupils read examples of their writing to the rest of the group.
Lesson 13
Objective: To compare the purpose and audience of three different texts written about the same place.
Starter: Tell the class they are planning a dream holiday. Brainstorm the sources they might go to for information and write these on the board.
Write three text types on board: email from friend travelling abroad, travel brochure and travel guide website.
Ask pupils which sources they would prefer to go to for information. Which source would be more reliable? Up-to-date? Unbiased? etc.
Briefly brainstorm the presentational and language features you would expect of these three text types.
Main/development: In pairs, pupils read each of the three texts, recording comments on audience, purpose, layout and formality in a comparison table.
Sets 1 - 3
pg 31-34 of SMART SKILLS BUILDER: Reading
Sets 4 & 5
pg 45 - 48 of SMART SKILLS BUILDER: Reading Booster
Plenary: The class feedback their observations, justifying their conclusions with close reference to the three texts. Review responses to questions raised in starter.
NB. Ask pupils to bring travel brochures to the next lesson.
Lesson 14.
Objective: To explore the use of fact and opinion and presentational features in travel brochures and consider how they are used to attract and persuade the reader.
Starter: Revise fact and opinion by providing various examples of each and asking pupils to sort them under headings. You may like to introduce the concept of 'false facts' (opinions disguised as facts), particularly if you have a middle-high set. How and why do the writers of travel texts effectively blend facts and opinions?
Main/development: What do we mean by presentational features? Briefly explain and then ask pupils to carry out a five minute investigation in which they must look closely at their travel brochures, listing as many of these features as they can (perhaps on mini-whiteboards).
Take feedback, looking for the following features: headings, sub-headings, font, layout, borders, shading, text-boxes, images, bullet points, graphs, maps, use of colour etc.
Pupils now need to consider the effect of these features on the reader. Ask the class to create a table in which they record each feature (or a selection) and write down its purpose/effect.
When finished, take feedback, drawing out the importance and effectiveness of these presentational features.
Ask pupils to describe the images used on a particular page of their brochure (The Thomas Cook Cambodia text could be used here). How are the pictures placed? Why? Size? Colour? Why have these images been chosen? How do they persuade the reader?
Plenary: Pupils write a paragraph explaining why presentational features are so important when writing to persuade, inform and describe.
Lesson 15.
Objective: To write our own travel brochure page, using language with positive connotations.
Starter: Holiday brochure jargon. Match the jargon with the realistic view.
Main/development: Ask students what their 'top tips' for travel brochure writing are based on the work completed last lesson. Briefly recap appropriate language (and presentational features) for this style of writing and explain to pupils that they are now going to write their own for a destination of their choice. (They may need to use their own travel brochures again or be given the opportunity to use the internet for research).
Identify positive language in holiday brochures. Consider use of fact and opinion.
Independent writing: pupils must aim to use a balance of persuade - inform - describe
Groups of lower ability could be provided with a fact file on a particular destination, a word bank or a writing frame.
(If computers are available, pupils could experiment with presentational features. If not, they can concentrate on writing the text for their brochure)
Plenary: Pupils swap work and provide each other with advice about how to improve as well as commenting on particularly effective sentences.
Lesson 16.
Objective: To write about an uncomfortable journey, using language with negative connotations
Starter: Washing line words. Sort the list of words into order of intensity of emotion, from weakest to strongest.
Main/development: Read the extract from Michael Palin's Pole to Pole (Day 141 - To the South Pole). Find examples from the text that make life at the South Pole seem very uncomfortable.
Independent writing: Write about an uncomfortable journey, using language to build tension and suggest negative emotions e.g. a walk to the head's office knowing you are in trouble, the journey to take your driving test/an important exam etc. (You may like to provide a writing frame or word bank for lower ability groups, or model the opening sentences.)
Plenary: Volunteers read their work aloud to the class, aiming to create tension with use of pace, pause, expression, volume and pitch.
Lesson 17
Objective: To be able to identify the correct register for texts and particularly to be able to identify features necessary for formal writing.
Starter: Give students some humorous examples of using the incorrect register. For example:
BBC Newsreader: OK guys this is the news, alright. So this bloke says…
Radio One DJ: In order to play Ms Minogue’s new song, we must first explore…
Worksheet: Inappropriate Register and Style
Write examples of inappropriate register and style in the boxes below. The first two have been done for you.
A birthday card to a close friend: May I wish you a very happy birthday. I
hope that you will enjoy many more such occasions in the future.
A conversation with your bank manager: Hi dude! I’d like some cash please,
hope that’s all right. Bye for now.
A postcard to a member of your family:
An exam essay on a poem:
A text message to your best friend:
A thank you letter to an elderly neighbour:
Main/Development:
Read both letters from Smart Skills Builder: Writing page 9-10:
Identify sentences and explain why formal or informal.
Get students to explain why the informal letter has an inappropriate register – what could be the effects of this?
Ask students to provide examples of where formal English is used (business letters, news articles, books etc) Ask them also for examples of informal language use (for example: personal emails, text messages, some magazines).
Create a spider diagram on the board and as a class, add features of formal writing (for example: use of the passive voice, formal connectives, complete sentences, nouns rather than verb phrases, appropriate vocabulary, avoids colloquial words or slang, impersonal tone).
Plenary: Why are there different degrees of formality and why is it important to use the right register?
Lesson 18 Reading
Letter to Daniel – non-fiction book
Note: the personal dimensions to this subject matter of this material may make it unsuitable in some ways for some pupils.
Objectives: identifying the difference between fiction and
non-fiction.
To respond personally to a text.
Starter:
Put these words into three groups under the headings ‘fiction’,
‘non-fiction’, and ‘both/not sure’:
Personal
For an unknown reader
Found on TV or radio
About real people
Imaginative
Found mainly in print texts
Deals with facts
Deals with ideas
Creative
About made up characters
Enjoyable to read
Tells a story
Hard to read
Main/Development:
The first paragraph of the text is broken into fragments. Students should look at these and make notes about their ideas, expectations and questions, for example who is it about? What is happening? When? Where?
Behind the bedroom door you are sleeping
I can hear your snores rattling down the stairs
to our ruined sitting room
here among the broken chairs,
the overturned Christmas tree,
we are preparing to leave you.
We are breaking away from you, Da.
Feedback of ideas.
Read the letter to the class aloud.
Responding to the letter: tell the class to jot down two phrases or sentences from the piece that they find especially powerful or moving.
Students should then write one or two paragraphs explaining their personal
response to the letter. They should think about the content of the letter and
the way in which Fergal Keane describes his memories and expresses his feelings.
Extension task: Look at two extracts from the letter. Focus on each extract
in turn, looking closely at the way it is written. Make a list of the interesting
uses of language and the effect these have. By the end you should have found
something to say about each of these features:
• sentence length
• the use of the connective ‘and’
• word order
• verbs
• repetition
• figurative language (metaphors and similes).Last night you crashed through the silence, dead drunk and spinning in your own wild orbit into another year of dreams.
Oh my actor father, time was, time was we swallowed those lines, but no longer.
In the background I could hear glasses clinking, voices raised, and you said: ‘Tell her I love her,’ and then the change ran out, and I began to understand what made love the saddest word in any language.
I remember your new suit, your embarrassed embrace, the money you pressed into our hands, and the smell of whiskey.
Down the years we struggled to find one another, but I was growing up and away, and you were drifting closer to darkness. And at the end I gave up writing, gave up calling. I gave up.
Plenary: listen to a few of the different responses to Fergal Keane’s Letter to my Father.’
Lesson 19– reading
Objectives: To be able to compare texts.
To be able to identify author’s purposes.
Starter: Ask for recap of Letter to my Father from
the class. Tell students that Fergal Keane’s letter is a form of recount
– it tells the reader about events in his past life. What tense do they
expect recounts to be in: past or present?
Draw their attention to the last two lines: ‘I had sent you nothing, not
even a card. Now I would send you a thousand, but I have no address.’
Here Fergal Keane changes from the past tense in the first sentence to the present
in the second sentence. Ask students for reasons why he shifted tense at this
point.
Main/Development:
Read aloud Letter to Daniel to the class.
Display these words and ask students to decide which ones seem to fit both ‘Letter to my Father’ and ‘Letter to Daniel’. They should select a short quotation to illustrate each word they choose. Students will need access to both letters.
Bitter
Sad
Thoughtful
Angry
Happy
Regretful
Distant
Intimate
Personal
Students should spend a few minutes talking about, and noting down their responses to ‘Letter to Daniel’.
Students choose one paragraph from ‘Letter to Daniel’ that they find particularly interesting or moving. They should write about their chosen paragraph, exploring how the use of language contributes to the meaning and how it affects them as a reader. They should use short quotations from the paragraph as evidence using PEE.
Some useful words and phrases:
A key passage in the letter is …
While this paragraph is all about …, the next …
Fergal Keane often uses xxx technique, as is shown in the third paragraph, where he …
When Keane talks about xxx he is at his most powerful,
Here is an example to show students:
Fergal Keane uses balance in his sentences, for emphasis and to give emotional power. For instance, he says, ‘We had wanted you and waited for you, imagined you and dreamed about you.’ The pairs of ‘wanted’ and ‘waited’, (with alliteration on the ‘w’) and ‘imagined’ and ‘dreamed’, are all verbs which suggest longing. The repeated use of the connective ‘and’ increases the sense of just how much they yearned for their baby. The balance in the sentence also means ‘you’ is repeated four times. This stresses how important this ‘you’ (his son) is.
Plenary:
The class should decide which statements they feel fits with their own view from the ones below. Some students will be able to make up a statement of their own.
It’s a celebration of his son’s birth.
It’s about his relationship with his father.
It’s about how his son’s birth has made him think hard about his own family history.
It’s about how his son’s birth has made him think about other children in the world.
It’s about hope for the future, both personally and in the whole world.
It’s a personal piece of writing.
It’s a political piece of writing.
It uses a personal story to comment on political events.
