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ED 472 410 TITLE INSTITUTION REPORT NO PUB DATE NOTE AVAILABLE FROM PUB TYPE EDRS PRICE DESCRIPTORS IDENTIFIERS ABSTRACT DOCUMENT RESUME CS 511 728 Transition from Year 6 to Year 7 English: Units of Work. The National Literacy Strategy. Department for Education and Skills, London (England). DfES-0113/2002 2002-04-00 49p. Department for Education and Skills (DfES), PROLOG, P.O. Box 5050, Sherwood Park, Annesley, Notts NG15 ODJ. Tel: 0845 6022260; Fax: 0845 6033360; e-mail: [email protected]. For full text: http://www.standards.dfee.gov.uk/midbins/ literacy/units_english.PDF. Guides Classroom Teacher (052) EDRS Price MF01/PCO2 Plus Postage. *British National Curriculum; Educational Objectives; Elementary Secondary Education; *English Instruction; Foreign Countries; Lesson Plans; *Literacy; National Standards; *Units of Study *National Literacy Strategy (England); Transitional Activities These curriculum materials have been designed to help upper elementary students in England make a successful start at secondary school. These transition units consist of one unit involving 10 lessons at the end of Year 6 and a second unit of six lessons at the beginning of Year 7. The units use teaching objectives drawn from the primary and Key Stage 3 Frameworks for teaching literacy/English. Each Year 6 unit sets out to provide useful information about students' attainment in a manageable form by passing on information on students' strengths and weaknesses in certain aspects of the curriculum. The assessments and targets arising from the units can also be used to inform the teaching programs developed by local literacy summer schools. The materials are divided into the following sections: Introduction; Framework Objectives; Introduction to Year 6 Unit; Two-week Plan for Year 6; Year 6 Week 1-Detailed Lesson Plan of Days 3 and 4; Introduction to Year 7 Unit; Two-week Plan for Year 7; Year 7 Week 2-Detailed Lesson Plan of Days 4 and 5. Contains targeted text resources. (NKA) Reproductions supplied by EDRS are the best that can be made from the original document.
Transcript of DOCUMENT RESUME TITLE INSTITUTION - ERIC · TITLE. INSTITUTION REPORT NO PUB DATE NOTE AVAILABLE...
ED 472 410
TITLE
INSTITUTIONREPORT NOPUB DATE
NOTEAVAILABLE FROM
PUB TYPEEDRS PRICEDESCRIPTORS
IDENTIFIERS
ABSTRACT
DOCUMENT RESUME
CS 511 728
Transition from Year 6 to Year 7 English: Units of Work. TheNational Literacy Strategy.Department for Education and Skills, London (England).DfES-0113/20022002-04-0049p.
Department for Education and Skills (DfES), PROLOG, P.O. Box5050, Sherwood Park, Annesley, Notts NG15 ODJ. Tel: 08456022260; Fax: 0845 6033360; e-mail: [email protected]. Forfull text: http://www.standards.dfee.gov.uk/midbins/literacy/units_english.PDF.Guides Classroom Teacher (052)
EDRS Price MF01/PCO2 Plus Postage.*British National Curriculum; Educational Objectives;Elementary Secondary Education; *English Instruction; ForeignCountries; Lesson Plans; *Literacy; National Standards;*Units of Study
*National Literacy Strategy (England); TransitionalActivities
These curriculum materials have been designed to help upperelementary students in England make a successful start at secondary school.These transition units consist of one unit involving 10 lessons at the end ofYear 6 and a second unit of six lessons at the beginning of Year 7. The unitsuse teaching objectives drawn from the primary and Key Stage 3 Frameworks forteaching literacy/English. Each Year 6 unit sets out to provide usefulinformation about students' attainment in a manageable form by passing oninformation on students' strengths and weaknesses in certain aspects of thecurriculum. The assessments and targets arising from the units can also beused to inform the teaching programs developed by local literacy summerschools. The materials are divided into the following sections: Introduction;Framework Objectives; Introduction to Year 6 Unit; Two-week Plan for Year 6;Year 6 Week 1-Detailed Lesson Plan of Days 3 and 4; Introduction to Year 7Unit; Two-week Plan for Year 7; Year 7 Week 2-Detailed Lesson Plan of Days 4and 5. Contains targeted text resources. (NKA)
Reproductions supplied by EDRS are the best that can be madefrom the original document.
U.S. DEPARTMENT OF EDUCATIONOffice of Educational Research and Improvement
EDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)
This document has been reproduced asreceived from the person or organizationoriginating it.
Minor changes have been made toimprove reproduction quality.
Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position cr policy.
Transition from Year 6 to Year 7 English: Units ofWork.
BEST COPY AVAILABLE
Contents
Introduction
Framework objectives
Introduction to Year 6 unit
Two-week plan for Year 6
Year 6 Week 1
Detailed lesson plan of Days 3 and 4
Introduction to Year 7 unit
Two-week plan for Year 7
Year 7 Week 2
Detailed lesson plan of Days 4 and 5
Resources
Resource Sheet A- using a reading journal
Sample Text 1 OHT comparison of theopenings of Kensuke's Kingdom andThe Butterfly Lion by Michael Morpurgo
Sample Text 1 annotation
Resource Sheet B opening paragraphs ofThe Butterfly Lion and The Dancing Bear
and the description of Roxanne fromThe Dancing Bear by Michael Morpurgo
Sample Text 2 - OHT/worksheet comparisonof the openings of Kensuke's Kingdom andThe Dancing Bear by Michael Morpurgo
Sample Text 2 annotation
Sample Text 3 demo-write comparing andcontrasting the introduction of the charactersof Kensuke and Roxanne
Sample Text 4 - annotated demo-writeof letter to an agony aunt
Sample Text 5 annotated demo-writeof third person summary and balancedjudgement of a 'conflict' event
3
4
5
7
9
12
14
16
18
19
20
21
22
23
24
25
26
Resource Sheet C language investigations
Sample Text 6 annotated demo-write of poem
Sample Text 7 - story map of conflict inKensuke's Kingdom
Resource Sheet D starter activities Year 7
Text: 'My Father is a Polar Bear' by MichaelMorpurgo
Sample Text 8 journal entry OHT
Sample Text 9 journal entry OHT
Resource Sheet E - checklist for effectivenarrative writing
Resource Sheet F - timeline showing Andrew'sgrowing knowledge about his real father
Resource Sheet G annotated extract from'My Father is a Polar Bear'
Sample Text 10 annotated demo-write ofnotes of a recount and a related narrative
Resource Sheet H - textual evidence in pictorialform
27
28
29
30
32
40
41
42
44
45
46
47
2 English transition units
Introduction to the transition units
The move from Year 6 to Year 7 can be daunting for pupils. After a long summer break, they areworking in a new environment. They may have few friends, as their peers come from manydifferent schools. They have to get to know new teachers and a different organisation. Teachingapproaches may not be the same.
Your school will already have some effective arrangements to help pupils to make a successfulstart at secondary school. For example, there may be a local project, such as use of QCA or other
bridging units. If this is the case, you may prefer to continue using these materials rather thanintroduce the transition units.
There are two pairs of transition units, one for mathematics and one for literacy/English:
Calculation and problem solving: one unit involving five lessons at the end of Year 6 and a
second unit of five lessons at the beginning of Year 7Authors and texts: one unit involving ten lessons at the end of Year 6 and a second unit of six
lessons at the beginning of Year 7.
These units use teaching objectives drawn from the primary and Key Stage 3 Frameworks forteaching literacy/English or mathematics. If you are using the National Literacy Strategy's Year 6Planning Exemplification, or the National Numeracy Strategy's Year 6 Unit Plans, the Year 6
transition units will already form part of your work for the summer term. The Key Stage 3Frameworks help to provide continuity in teaching approaches and progression in what is taught
in mathematics and English.
The Statutory Transfer Form provides information about pupils' attainment in end of key stageassessments. Nevertheless, it is often difficult for Year 7 teachers to gauge the curricular strengthsand weaknesses of pupils who are new to their schools. The transition unit is another means ofproviding secondary teachers with some common information about pupils from different primaryschools. Each Year 6 unit sets out to provide useful information on pupils' attainment in amanageable form by passing on information on pupils' strengths and weaknesses in certainaspects of the curriculum. The assessments and targets arising from the units can also be used toinform the teaching programmes developed for local literacy and numeracy summer schools.
The transition units are intended to ensure that:
pupils experience a lesson structure they are familiar with and understandthere is a consistency in teaching approach that will help pupils to respond to new people in
new surroundingspupils are able to build on their early successes and demonstrate what they know, understandand can do in the context of the work they did in Year 6teachers are better informed about pupils' strengths and weaknesses and can use the lessonsto confirm their assessments and plan teaching programmes that meet the needs of their pupils
there is greater continuity and progression and less repetition of work.
For the transition units to succeed, primary schools need to make sure that pupils' work from theYear 6 units is transferred to the appropriate secondary school. When it is not clear to whichsecondary school pupils will transfer, the pupils may keep their work themselves, to take it to their
new schools.
This is the first year that the transition units have been used. The Strategy teams would welcomefeedback via the LEA's literacy/English and numeracy/mathematics consultants on the extent towhich the units have supported transition arrangements, and ways in which the units could be
developed further.
English transition units 3
m z O
Tra
nsiti
on u
nits
Aut
hors
and
Tex
tsF
ram
ewor
k ob
ject
ives
Yea
r 6
Yea
r 7
Tex
t lev
elR
eadi
ng1.
to d
escr
ibe
and
eval
uate
the
styl
e of
an
indi
vidu
al w
riter
;5.
to c
ompa
re a
nd c
ontr
ast t
he w
ork
of a
sin
gle
writ
er;
6. to
look
at c
onne
ctio
ns a
nd c
ontr
asts
in th
e w
ork
of d
iffer
ent w
riter
s;8.
to u
se a
rea
ding
jour
nal e
ffect
ivel
y to
rai
se a
nd r
efin
e pe
rson
al r
espo
nses
to a
text
and
pre
pare
for
disc
ussi
on;
6. a
dopt
act
ive
read
ing
appr
oach
es to
eng
age
with
and
mak
e se
nse
ofte
xts,
e.g
. vis
ualis
ing,
pre
dict
ing,
em
path
isin
g an
d re
latin
g to
ow
n ex
perie
nce;
15. t
race
the
way
s in
whi
ch a
writ
er s
truc
ture
s a
text
to p
repa
re a
rea
der
for
the
endi
ng, a
nd c
omm
ent o
n th
e ef
fect
iven
ess
of th
e en
ding
;17
. rea
d a
rang
e of
rec
ent f
ictio
n te
xts
inde
pend
ently
as
the
basi
s fo
rde
velo
ping
crit
ical
ref
lect
ion
and
pers
onal
res
pons
e, e
.g. s
harin
gvi
ews,
kee
ping
a r
eadi
ng jo
urna
l;
Tex
t lev
elW
ritin
g9.
to w
rite
sum
mar
ies
of b
ooks
or
part
s of
boo
ks, d
ecid
ing
on p
riorit
ies
rele
vant
to p
urpo
se;
12. t
o co
mpa
re te
xts
in w
ritin
g, d
raw
ing
out:
thei
r di
ffere
nt s
tyle
s an
d pr
eocc
upat
ions
;th
eir
stre
ngth
s an
d w
eakn
esse
s;th
eir
diffe
rent
val
ues
and
appe
al to
a r
eade
r;
3. u
se w
ritin
g to
exp
lore
and
dev
elop
idea
s, e
.g. j
ourn
als,
bra
inst
orm
ing
tech
niqu
es a
nd m
enta
l map
ping
act
iviti
es;
Sen
tenc
ele
vel
2. to
con
duct
det
aile
d la
ngua
ge in
vest
igat
ions
thro
ugh
inte
rvie
ws,
res
earc
han
d re
adin
g, e
.g. o
f pro
verb
s, la
ngua
ge c
hang
e ov
er ti
me,
dia
lect
, stu
dy o
fhe
adlin
es;
4. to
sec
ure
cont
rol o
f com
plex
sen
tenc
es, u
nder
stan
ding
how
cla
uses
can
be m
anip
ulat
ed to
ach
ieve
diff
eren
t effe
cts;
1. e
xten
d th
eir
use
and
cont
rol o
f com
plex
sen
tenc
es b
y:a.
rec
ogni
sing
and
usi
ng s
ubor
dina
te c
laus
es;
b. e
xplo
ring
the
func
tions
of s
ubor
dina
te c
laus
es, e
.g. r
elat
ive
clau
ses
such
as 'w
hich
I bo
ught
' or
adve
rbia
l cla
uses
suc
h as
'hav
ing
finis
hed
his
lunc
h';
c. d
eplo
ying
sub
ordi
nate
cla
uses
in a
var
iety
of p
ositi
ons
with
in th
ese
nten
ce;
Wor
dle
vel
5. to
inve
nt w
ords
usi
ng k
now
n ro
ots,
pre
fixes
and
suf
fixes
, e.g
. vac
ca +
phob
e =
som
eone
who
has
a fe
ar o
f cow
s;6.
to p
ract
ise
and
exte
nd v
ocab
ular
y, e
.g. t
hrou
gh in
vent
ing
wor
d ga
mes
such
as
puns
, rid
dles
, cro
ssw
ords
;
1. P
upils
sho
uld
revi
se, c
onso
lidat
e an
d se
cure
cor
rect
vow
el c
hoic
es,
incl
udin
g: v
owel
s w
ith c
omm
on a
ltern
ativ
e sp
ellin
gs, f
or e
xam
ple
ay, a
i,a-
e; u
nstr
esse
d vo
wel
s; th
e in
fluen
ce o
f vow
els
on o
ther
lette
rs, e
.g.
doub
ling
cons
onan
ts, s
ofte
ning
c;
Spe
akin
gan
dLi
sten
ing
Spe
akin
g an
d Li
sten
ing
focu
s (d
evis
ed fo
r th
is u
nit)
.us
e ex
plor
ator
y ta
lk to
com
pare
(ob
serv
e si
mila
ritie
s) a
nd c
ontr
ast
(obs
erve
diff
eren
ces)
in te
xts;
expl
ore
rela
tions
hips
thro
ugh
wor
k in
rol
e;co
ntrib
ute
appr
opria
tely
to d
iscu
ssio
n th
roug
h re
ason
ed a
nd e
valu
ativ
eco
mm
ents
;
2. r
ecou
nt a
sto
ry, a
necd
ote
or e
xper
ienc
e, a
nd c
onsi
der
how
this
diff
ers
from
writ
ten
narr
ativ
e;6.
list
en fo
r an
d re
call
the
mai
n po
ints
of a
talk
, rea
ding
or
tele
visi
onpr
ogra
mm
e, r
efle
ctin
g on
wha
t has
bee
n he
ard
to a
sk s
earc
hing
ques
tions
, mak
e co
mm
ents
or
chal
leng
e th
e vi
ews
expr
esse
d;
The
Nat
iona
l Lite
racy
Str
ateg
y F
ram
ewor
k fo
r T
each
ing
(199
8)T
he K
S3
Fra
mew
ork
for
Tea
chin
g E
nglis
h, Y
ears
7, 8
and
9 (
2000
)(K
ey o
bjec
tives
are
in b
old)
Introduction to Year 6 unit
The transition units in English comprise two weeks' (10 days') work after the Key Stage 2tests in Year 6 and two weeks' (six days') work at the beginning of Year 7. There areobjectives, at text and sentence levels, common to both years. These involve using areading journal to deepen understanding of text and, as a writer, increasing control of
complex sentences.
Summary of objectivesThe main objective of this unit is to ensure that pupils can use a reading journaleffectively to raise and refine personal responses to text and prepare for discussion. Inthe reading journal, the pupils will describe and evaluate the style of writers bysummarising, comparing and contrasting elements across their novels and makingconnections to and comparisons with another writer/other writers. In composing journalentries, the pupils will use, as appropriate, complex sentences and appropriatetechnical vocabulary (metalanguage) when summarising, connecting and contrasting.They will also have the opportunity to investigate the language used in the novels.
Outcomesreading journals - evidence of each pupil's competence in reflecting upon theirreading and their competence in writinga class anthology for use by the school
Resources
Kensuke's Kingdom and The Suitcase Kid
This Year 6 unit requires two novels by different authors which, between them, appeal toa wide readership and contain some similar thematic material. The two novels which arethe basis of this planning exemplification are Kensuke's Kingdom by Michael Morpurgoand The Suitcase Kid by Jacqueline Wilson. Although both are written in the first person,the use of language in each of these novels is very different. The settings and plot bearno resemblance to one another but they share the theme of family relationships andconflict. Any two novels which meet these broad requirements can be substituted, oneread before the start of the unit and the other during the fortnight of the unit.
The editions of the two books exemplified in this planning are listed below. All pagenumbers refer to these editions.
Michael Morpurgo Kensuke's Kingdom 2000 Mammoth ISBN 0 7497 3639 9Jacqueline Wilson The Suitcase Kid 1993 Corgi Yearling ISBN 0 440 86311 2
If teachers choose to use these books it is essential that they read Kensuke'sKingdom to the class before starting the unit and The Suitcase Kid on a daily basisthroughout the unit. In order to follow the suggested plan, it is necessary to have readup to page 72 by the first Thursday and to the end of the book by the followingWednesday. A suggested number of pages has been inserted into the plan on each day.
The planning includes resource material for use in analysis and as demonstration writing(Sample Texts 1-10 and Resource Sheets A-H). These materials serve to illustrate theintended teaching points and can be replaced with different examples.
English transition units 5
Sample Texts 1-7
These are either journal entries for analysis by the teacher (or pupils) or journal entries
for demonstration writing. They are annotated so that the teacher has the informationwhen analysing a journal entry, knows what the pupils should have produced when theyanalyse an entry or for the teacher to articulate aloud when demo-writing.
Resource Sheets AC
These contain detailed information for particular activities and are referenced in theweek plan.
HomeworkThere are suggestions for homework each day. Teachers will decide how often pupilswill do homework related to English. The aim of these homework suggestions is tocontinue using a reading journal when reading a personal selection of books. None ofthe lessons depend upon the suggested homework.
Guided reading
The class novel, The Suitcase Kid, could provide the detailed discussion for guidedreading. However, teachers may prefer pupils to be reading other material.
Pupils often wish to continue reading books by authors they have encountered atschool. Further books by Michael Morpurgo and Jacqueline Wilson include:
Jacqueline Wilson Michael MorpurgoDouble Act The Dancing Bear
Glubbslyme The Butterfly Lion
The Story of Tracy Beaker Twist of Gold
The Dare Game Waiting for Anya
The Lottie Project Out of the Ashes
Cat Mummy
Reading journals
At the end of the Year 6 unit, the pupils will have made a number of entries in theirreading journals, particularly if they are encouraged to extend its use to their personalreading outside the Literacy Hour. This journal will serve as an indicator to their Year 7English teacher (and others) of their capacity to respond to and reflect on text and their
ability to write down their reflections.
Ongoing spelling workThis unit does not include any of the routine spelling objectives. However, it would beadvisable to continue ongoing spelling practice, e.g. investigations into the roots ofwords and the conventions of spelling, white board practice and dictation.
In the week plans which follow, the objectives which are addressed in each section ofthe lesson are referenced by number and initial for text, sentence and word, e.g. T8, S4,
W6.
6 English transition units
Tw
o-w
eek
plan
for
Yea
r 6
- W
eek
1
Yea
r 6
Wee
k 1
Sha
red
text
, sen
tenc
e an
d w
ord
leve
l wor
kIn
depe
nden
t/gui
ded
wor
kP
lena
ryC
lass
nove
lP
ossi
ble
hom
ewor
ksu
gges
tions
Day
1In
trod
uctio
nto
rea
ding
jour
nals
Use
Ch3
of K
ensu
ke's
Kin
gdom
to in
trod
uce
idea
of l
og/jo
urna
lan
d th
e ra
nge
of ty
pes
of jo
urna
l ent
ry In
trod
uce
the
idea
of
usin
g a
read
ing
jour
nal (
Res
ourc
e S
heet
A).
Brie
fly s
how
Pup
ils s
tart
thei
r ow
n re
adin
g jo
urna
ls b
yw
ritin
g tw
o or
thre
e co
mm
ents
they
wou
ldlik
e to
mak
e to
Mic
hael
Mor
purg
o ab
out a
nyas
pect
of K
ensu
ke's
Kin
gdom
and
two
ques
tions
they
wou
ld li
ke to
ask
him
abo
utit.
T1,
T8
Sam
ple
pupi
ls' r
espo
nses
.F
ocus
on
and
expl
ore
a w
ide
rang
e of
rea
ctio
ns/
resp
onse
s. T
1, T
8
Beg
inre
adin
gT
he Sui
tcas
eK
id to
clas
s.
Pup
ils b
egin
to r
ead
own
chos
en te
xts;
they
rec
ord
initi
alco
mm
ents
and
ques
tions
. T1
exam
ples
of e
ntrie
s fr
om a
rea
ding
jour
nal (
e.g.
Sam
ple
Tex
ts 1
,8,
9)
to s
how
how
a r
eadi
ng jo
urna
l can
be
used
. T8
Day
2A
naly
sing
jour
nal
entr
ies
whi
chco
mpa
rete
xts
Rer
ead
the
open
ing
para
grap
h of
Ken
suke
's K
ingd
om; b
riefly
disc
uss
its e
ffect
iven
ess
as a
n op
enin
g. R
ead
and
disc
uss
the
open
ing
of T
he B
utte
rfly
Lio
n (R
esou
rce
She
et B
). D
iscu
ss a
ndan
alys
e jo
urna
l ent
ry (
Sam
ple
Tex
t 1)
whi
ch c
ompa
res
the
two
open
ings
. Not
e th
e oc
casi
onal
use
of c
ompl
ex s
ente
nces
tom
ake
the
com
paris
ons
and
the
use
of s
peci
fic te
rmin
olog
y(m
etal
angu
age)
. T1,
T5,
S4,
W6
Pup
ils r
ead
the
open
ing
of T
he D
anci
ng B
ear
(Res
ourc
e S
heet
B).
In p
airs
or
grou
ps, t
hey
disc
uss
and
anal
yse
a jo
urna
l ent
ry w
hich
com
pare
s th
is o
peni
ng w
ith th
e op
enin
g of
Ken
suke
's K
ingd
om in
a c
hart
or
diag
ram
(Sam
ple
Tex
t 2).
T5,
T8
Sam
ple
pupi
ls' r
espo
nses
.E
valu
ate
the
effe
ctiv
enes
s of
each
type
of e
ntry
, e.g
. in
the
char
t, no
te th
e us
e of
gra
phic
alte
rnat
ives
to c
ompl
exse
nten
ces
but s
till t
he u
se o
fm
etal
angu
age.
W6
Rea
dT
he Sui
tcas
eK
id.
Sug
gest
read
topa
ge 3
3.
Use
pre
ferr
ed e
ntry
type
to e
valu
ate
the
effe
ctiv
enes
s of
the
open
ing
in o
wn
chos
en te
xt. T
1
Day
3A
pply
ing
-w
ritin
g a
jour
nal e
ntry
whi
chco
mpa
res
text
s
Rer
ead
desc
riptio
n of
Ken
suke
(pa
ges
67-7
0 fr
om K
ensu
ke's
Kin
gdom
). R
ead
the
desc
riptio
n of
Rox
anne
in T
he D
anci
ngB
ear
(Res
ourc
e S
heet
B).
Dem
o-dr
aw/w
rite
a ch
art/d
iagr
am to
note
the
key
poin
ts o
f sim
ilarit
y an
d di
ffere
nce
betw
een
the
way
in w
hich
the
auth
or d
escr
ibes
the
two
char
acte
rs in
the
two
book
s (S
ampl
e T
ext 3
). F
ocus
on
use
of jo
urna
l met
alan
guag
e.U
sing
this
cha
rUdi
agra
m a
s a
skel
etal
pla
n, d
emo-
writ
e th
e fir
sttw
o se
nten
ces
of a
pro
se jo
urna
l ent
ry o
n sa
me
subj
ect (
Sam
ple
Tex
t 3).
T6
In r
eadi
ng jo
urna
ls, p
upils
com
plet
e th
epr
ose
com
paris
on o
f how
cha
ract
ers
are
desc
ribed
usi
ng th
e ap
prop
riate
met
alan
guag
e an
d so
me
com
plex
sent
ence
s to
mak
e ef
fect
ive
com
paris
ons.
T6,
T12
, S4,
W6
Iden
tify
a po
int f
rom
the
char
t and
invi
te e
xam
ples
of
pupi
ls' d
evel
oped
view
poin
ts; f
ocus
on
com
plex
sen
tenc
es a
ndm
etal
angu
age.
T6,
S4,
W6
Rea
dT
he Sui
tcas
eK
id.
Sug
gest
read
topa
ge 5
2.
Cha
ract
er a
naly
sis
- pr
ose
or c
hart
form
- o
n an
ysi
gnifi
cant
cha
ract
erfr
om o
wn
read
ing.
T1
Day
4E
mpa
this
ing
in r
ole-
play
and
writ
ing
Rea
d A
ndre
a's
desc
riptio
n of
her
ste
psis
ter
on p
ages
13-
15 o
fT
he S
uitc
ase
Kid
. Go
into
rol
e as
And
rea
(hot
-sea
ting)
and
ask
the
pupi
ls to
que
stio
n yo
u. In
pai
rs, p
upils
rol
e-pl
ay th
ear
gum
ent b
etw
een
And
rea
and
Kat
ie.
Dem
o-w
rite
a tr
ansf
orm
atio
n pi
ece
for
jour
nal e
ntry
, e.g
. let
ter
toag
ony
aunt
(S
ampl
e T
ext 4
). T
8
In r
eadi
ng jo
urna
ls, p
upils
writ
e on
e of
the
follo
win
g:le
tter
from
Kat
ie o
r A
ndy
to s
ame
agon
yau
nt b
ut d
escr
ibin
g th
e pr
oble
m s
light
lydi
ffere
ntly
;re
spon
se fr
om a
gony
aun
t;sc
ript f
or p
layl
et in
whi
ch K
atie
tells
her
dad
wha
t hap
pene
d T
8.
Tak
e ex
ampl
es o
f Kat
ie's
view
poin
t. Le
ad d
iscu
ssio
non
how
it m
ight
feel
to b
eK
atie
(e.
g. -
sm
all,
vuln
erab
lew
ith s
imila
r fa
mily
pre
ssur
esto
And
rea)
. T8
Rea
dT
heS
uitc
ase
Kid
.C
ontin
ueto
at l
east
page
72.
Des
ign
and
writ
eow
n tr
ansf
orm
atio
npi
ece
show
ing
empa
thy
with
any
chos
en c
hara
cter
from
ow
n re
adin
g.G
ive
brie
for
ient
atio
n. T
8
Day
5S
umm
aris
ing
and
eval
uatin
g
Rer
ead
the
inci
dent
bet
wee
n A
ndre
a an
d K
atie
(pa
ges
68-7
0 of
The
Sui
tcas
e K
id).
Dis
cuss
the
effe
ct o
f the
use
of f
irst p
erso
n on
the
read
er. D
emo-
writ
e an
unb
iase
d/ba
lanc
ed 3
rd p
erso
nsu
mm
ary
of th
is, p
ossi
bly
from
the
poin
t of v
iew
of a
soc
ial
wor
ker.
Indi
cate
you
r us
e of
com
plex
sen
tenc
es a
ndm
etal
angu
age
(Sam
ple
Tex
t 5).
T9,
S4,
W6
Pup
ils r
erea
d th
e fa
mily
inci
dent
on
page
s38
-40
of T
he S
uitc
ase
Kid
. Pup
ils w
rite
aba
lanc
ed, 3
rd p
erso
n su
mm
ary
of th
isep
isod
e, o
fferin
g an
unb
iase
d ju
dgem
ent o
fea
ch c
hild
's r
ole,
and
the
role
s of
the
adul
tsin
bui
ldin
g up
to th
e co
nflic
t. P
upils
then
offe
r br
ief p
erso
nal a
dvic
e to
the
prot
agon
ists
on
how
to im
prov
e be
havi
our
to le
ssen
str
ess/
conf
lict.
T9,
S4,
W6
Act
ive
liste
ning
- v
olun
teer
sre
ad o
ut s
umm
arie
s; c
lass
liste
ns fo
r ev
iden
ce o
ffa
irnes
s or
bia
s. T
8
Rea
dT
heS
uitc
ase
Kid
.S
ugge
stre
ad to
page
96.
Sel
ect a
con
flict
or
stre
ssfu
l inc
iden
tfr
om o
wn
chos
ente
xt. W
rite
3rd
pers
on s
umm
ary;
offe
r a
sim
ple
judg
emen
t and
/or
advi
ce.
BE
ST C
OPY
AV
AIL
AB
LE
co m cc cn - 0 C
Wee
k 2
Yea
r 6
Wee
k 2
Sha
red
text
, sen
tenc
e an
d w
ord
leve
l wor
kIn
depe
nden
t/gui
ded
wor
kP
lena
ryC
lass
nove
lP
ossi
ble
hom
ewor
ksu
gges
tions
Day
6La
ngua
gein
vest
igat
ion
Lang
uage
inve
stig
atio
n of
Mor
purg
o's
choi
ce o
f voc
abul
ary
and
use
of s
ente
nce
stru
ctur
e in
Ken
suke
's K
ingd
om. F
ull d
etai
ls o
fpo
ssib
le in
vest
igat
ions
are
incl
uded
in R
esou
rce
She
et C
. S2,
W5
Con
tinue
the
inve
stig
atio
ns in
pai
rs o
rgr
oups
. S2,
W5
Pup
ils fe
ed b
ack
the
resu
ltsof
thei
r in
vest
igat
ions
and
disc
uss
the
conc
lusi
ons
they
have
dra
wn.
S2,
W5
Con
tinue
to r
ead
The
Sui
tcas
eK
id.
Sug
gest
read
topa
ge 1
22.
Pup
ils e
xplo
re th
ela
ngua
ge in
thei
rch
osen
text
. S2,
W5
Day
7T
rans
form
ing
a te
xtR
erea
d pa
ges
95-9
6 in
Ken
suke
's K
ingd
om w
here
Ken
suke
dem
olis
hes
Mic
hael
's b
eaco
n. D
iscu
ss th
e bo
y's
feel
ings
of
frus
trat
ion.
Dis
cuss
how
peo
ple
writ
e po
ems
or s
ong
lyric
s to
expr
ess
thei
r em
otio
ns, t
akin
g ex
ampl
es fr
om p
op s
tars
, rap
artis
ts, e
tc. D
emo-
writ
e a
poem
that
enc
apsu
late
s M
icha
el's
long
ing
to b
e ho
me
and
his
ange
r w
ith K
ensu
ke (
Sam
ple
Tex
t 6).
T8
Pup
ils w
rite
a po
em, r
ap o
r so
ng ly
rics
topo
rtra
y th
e em
otio
ns o
f a c
hara
cter
of t
heir
choi
ce fr
om e
ither
of t
he tw
o te
xts,
Ken
suke
's K
ingd
om o
r T
he S
uitc
ase
Kid
. T8
Pup
ils s
hare
thei
r po
ems
and
resp
ond
to e
ach
othe
r'sw
ork.
T8
Con
tinue
to r
ead
The
Sui
tcas
eK
id.
Sug
gest
read
topa
ge 1
38.
Pup
ils r
edra
ft/re
vise
thei
r po
ems.
T8
Day
8C
reat
ing
stor
y m
apId
entif
y co
nflic
t, an
d th
e re
solu
tion
of c
onfli
ct, a
s tw
o of
the
them
es o
f bot
h no
vels
. Dem
onst
rate
cre
atin
g a
'sto
ry m
ap' o
fK
ensu
ke's
Kin
gdom
, sho
win
g th
e ev
ents
whi
ch s
igna
l the
chan
ge in
the
rela
tions
hip
betw
een
Mic
hael
and
Ken
suke
(Sam
ple
Tex
t 7).
T1
Pup
ils c
reat
e a
'sto
ry m
ap' f
or T
he S
uitc
ase
Kid
, sho
win
g th
e ev
ents
whi
ch m
ark
the
chan
ges
in A
ndre
a's
rela
tions
hips
with
othe
rs. T
i
Ask
the
pupi
ls w
hat t
he k
eym
omen
ts a
re. D
iscu
ss a
nydi
sagr
eem
ents
. T8
Fin
ish
read
ing
The Sui
tcas
eK
id.
Pup
ils c
reat
e 's
tory
map
' for
ow
nch
osen
text
. T8
Day
9R
elat
ing
them
es in
the
two
nove
ls to
pupi
ls' l
ives
Lead
a d
iscu
ssio
n w
ith th
e pu
pils
of h
ow th
e th
emes
of c
onfli
ctan
d th
e re
solu
tion
of c
onfli
ct o
ften
appe
ar in
eve
ryda
y lif
e. U
sepa
ired
talk
to e
xplo
re h
ow a
nd w
hen
thes
e th
emes
occ
ur in
scho
ol li
fe, a
nd in
the
wid
er w
orld
. Enc
oura
ge p
upils
to s
hare
thei
r co
ncer
ns. T
6
Pup
ils r
efle
ct o
n an
issu
e of
con
flict
or
conf
lict r
esol
utio
n th
at c
once
rns
them
, and
resp
ond
with
a jo
urna
l ent
ry in
the
form
of
thei
r ch
oice
(i.e
. dia
gram
, let
ter,
poe
m,
empa
thet
ic r
espo
nse,
dia
ry e
ntry
, etc
.). T
8
Ask
pup
ils to
tell
you
the
form
of th
eir
entr
y an
d re
cord
the
rang
e. D
iscu
ss w
hich
form
sar
e m
ore/
less
pop
ular
. T8
Pup
ils r
evis
itqu
estio
ns a
ndco
mm
ents
in th
eir
first
jour
nal e
ntry
,an
d ad
d to
/ref
ine
thes
e in
the
light
of
rece
nt w
ork.
Day
10
Eva
luat
ing
use
ofre
adin
gjo
urna
l
Lead
a c
lass
rev
iew
of t
he r
esul
ts o
f usi
ng r
eadi
ng jo
urna
ls to
expl
ore
a ra
nge
of r
espo
nses
to a
feat
ured
text
. Org
anis
e pu
pils
into
gro
ups
to s
elec
t and
ref
ine
part
icul
ar r
espo
nses
for
incl
usio
n in
a c
lass
'ant
holo
gy' r
eadi
ng jo
urna
l. T
8
Cre
ate
a co
mm
unal
jour
nal.
In g
roup
s,pu
pils
rev
iew
jour
nal e
ntrie
s an
d ch
oose
item
s fo
r an
thol
ogy.
Sel
ect p
iece
s fo
rre
visi
on a
nd e
ditin
g. C
ompi
le q
uest
ions
and
com
men
ts fo
r bo
th a
utho
rs to
con
clud
ean
thol
ogy.
T1,
T5,
T6,
T8
Pup
ils a
dd a
fina
l, re
flect
ive
com
men
t on
wha
t kee
ping
ajo
urna
l has
mea
nt fo
r th
eman
d w
hat t
hey
look
forw
ard
tole
arni
ng in
Eng
lish
in Y
7.C
olle
ct in
the
jour
nals
from
the
pupi
ls g
oing
to s
econ
dary
scho
ols
whe
re th
e Y
7 tr
ansi
tion
unit
is g
oing
to b
e ta
ught
.
Year 6 Week 1 Detailed lesson plan
Day 3
Shared work
Tell the pupils that just as yesterday you compared two of Michael Morpurgo's storyopenings, today you will be comparing another aspect of his writing: presentation ofcharacter. Explain that today's work will lead to an entry in their reading journals.
Show the pupils the two books from which the extracts are taken, Kensuke'sKingdom and The Dancing Bear. Tell the pupils that in each passage that you'vechosen, the author introduces an important character, and that you will be comparingthe extracts in order to have a close look at how he does this.
Read each extract in its entirety (Kensuke pp. 67-70 and The Dancing Bear p.10) in
order to allow the pupils to visualise each character.
Tell the pupils that you will be making notes on each character in the form of a grid, asthis is a good way of comparing and contrasting things because you can easily seesimilarities and differences. Refer to any other occasions in other subjects when
you've used this method.
Begin with the Kensuke text (enlarged/OHT) and ask the pupils in pairs to commenton the way Kensuke is first presented to us as readers. Take feedback, and record the
findings on the grid.
Now look at the Dancing Bear text (enlarged/OHT) and ask the pairs to do the same
for the introduction of Roxanne.
Turn back to the Kensuke text and ask the pairs to find three or four words or phrasesthat describe Kensuke's physical appearance. Take feedback, text mark the passageand record the pupils' findings on the grid.
Use the Dancing Bear text (enlarged/OHT) and ask the pupils to look for evidence ofRoxanne's physical appearance. Take feedback and record on the grid that there isno explicit physical description of Roxanne when she is introduced as a character.Ask the pupils to be thinking about why that might be - you will return to this pointlater.
Turn back to Kensuke and ask the pupils to discuss in pairs how the author conveysto us how Kensuke is feeling. Take feedback, text mark and record responses on thegrid.
Repeat for Roxanne. The pupils will notice that Roxanne's feelings about hertreatment are not described.
Compare the two characters in the same way, looking this time at what they say, ordon't say, and record the information on the grid.
Ask the pupils to discuss in pairs what we as readers know about Kensuke andRoxanne at this point in the story, and how we feel about them. Take feedback andrecord any relevant comments.
Point out to the pupils that both characters are introduced to readers through theeyes of a first person narrator, yet each is presented in a very different way. Ask the
English transition units 9
10
pupils to discuss in pairs why they think the author has chosen to present eachcharacter so differently. In feedback, encourage them to speculate and to commenton each others' views.
Explain that you are going to take the notes you've made on the grid and turn theminto full sentences in order to end up with a journal entry that compares Morpurgo'spresentation of the two characters. Demonstrate taking the first notes on the grid,which relate to physical description, and using them to compose a complex sentenceor sentences. Emphasise your use of any technical language (e.g. references to
unusual vocabulary, adjectives, powerful verbs, etc.) and of the connectives thatmight be suitable for a comparison.
Independent work
Ask the pupils to work through the notes on the grid, turning each section into fullsentences, just as you did. In their final sentence(s) they will need to give their opinion ofwhy the author decided to present each character as he did. Tell them that in the plenaryyou will be asking some of them to read out their sentences for a particular section of thegrid so you can discuss how effectively people have managed this.
Plenary
Select a section from the grid and ask a couple of pupils to read out the sentences theydeveloped from the notes. Invite others to comment, and discuss the impact of variousphrases and sentence constructions. Finish the session by telling the pupils thattomorrow they will be doing some very different work on characters, using an extractfrom the class novel you are currently reading to them, The Suitcase Kid.
Day 4
Shared work
Tell the pupils that you are going to prepare a different sort of entry in their reading
journal, based on a detailed look at some of the characters in The Suitcase Kid. Readthe extract (enlarged/OHT) from pp. 13-15 and tell the pupils that although thispassage is largely about the character Katie, in fact we also learn a lot about Andy.
Explain that in order to explore the character of Andy, you will be going into role as
Andy in the hot seat and give the pupils a couple of minutes in pairs to think up somequestions they would like to ask 'Andy'. (If the pupils are very familiar with the hot-seating technique, you could select a confident pupil to go into role.)
After five minutes or so, come out of role and make brief notes on the board of anykey things that have been mentioned that you would like to record.
Tell the pupils that they are now going to have a couple of goes at being in role as oneof the characters. Draw their attention to the words: ' ... Katie started calling me AndyPandy. I couldn't stick it and I told her to shut up and she wouldn't.' Point out that theauthor has let us know that there was an argument, but hasn't told us what the girlsactually said to each other. Invite them in pairs to invent the argument, imagining whattheir character would be likely to say and encouraging them to remember the kinds ofthings they say when they argue with their brothers and sisters, friends, stepsistersand brothers etc. Allow a couple of minutes for this. Ask one or two of the 'Katies' to
tell you what they said.
10 English transition units
Now ask the pupils to swap roles and, in pairs as before, imagine how the argumentmight continue once Mum has left the room. Allow a few minutes. Again, find out what
a couple of the `Katies' said in the argument.
Tell the pupils that you are now going to imagine once again that you are Andy, thatyou are desperately unhappy but feel you have no one to confide in. So you'vedecided to write a letter, as if you were Andy, to the agony aunt page of a magazine,
asking for advice.
Pass round copies of a letters page to an agony aunt in a magazine (appropriate tothe age range!) so the pupils can see the sorts of letters they receive and the
responses they give.
Demonstrate writing a brief letter to an agony aunt, outlining why you are unhappyand the problems you have with Katie.
Ask the pupils to reflect on how, so far, everything has been presented from Andy'spoint of view. Now you would like them to imagine how Katie might be feeling. Askthem to discuss this in their pairs for a couple of minutes and then take quick
feedback.
Independent work
Tell the pupils that their task will be to write an entry for their reading journal in the form ofa letter to the same agony aunt, imagining they are Katie, explaining how unhappy theyare and the problems they are having with Andy. Pupils could work collaboratively inpairs or individually on this. Alternatively they could write a response from the agonyaunt to the letter from Andy, or write a playlet of the discussion between Andy's mumand Katie's dad that might have taken place following the events in the extract.
Plenary
Ask some pupils to read their letters aloud, while the others listen and try to identifyany particularly convincing passages where pupils have successfully imaginedthemselves in Katie's shoes.
Raise the issue of there always being two sides to every story and lead a short
discussion on the fact that the class began the session by seeing the situationthrough Andy's eyes, but have now begun to look at it from another point of view. Whymight this be important in a book like The Suitcase Kid?
English transition units 11
12
Introduction to Year 7 unit
The transition units in English comprise two weeks' (10 days') work after the Key Stage 2
tests in Year 6 and two weeks' (six days') work at the beginning of Year 7. There are
objectives, at text and sentence levels, common to both years. These involve using areading journal to deepen understanding of text and, as a writer, increasing control ofcomplex sentences. Pupils who have taken part in the Year 6 unit will arrive in Year7
with a reading journal.
Key objective
The key objective in Year 7 is to read a range of recent fiction texts independently as the
basis for developing critical reflection and personal response, e.g. sharing views,
keeping a reading journal.
Summary of connecting objectives
In continuing their reading journals, pupils will be shown how to use a variety ofapproaches to engage with text when reading and how to explore different ways ofresponding through talk and through writing. They will study how an author structures atext to prepare for the ending, and reflect on the differences between an oral recountand a narrative, using the author's own technique of taking a fragment of truth andweaving a story around it. Pupils will be consolidating their understanding and use ofcomplex sentences. In the starter activities, pupils will be securing their knowledge of
the correct spellings of vowels in words.
Context
This unit of work aims to support Year 7 English teachers in building on the work pupils
completed in Year 6, both by providing opportunities to draw on pupils' shared literacyexperiences to establish a sense of continuity and cohesion in the new class, and by
revising knowledge and skills developed in Key Stage 2 in order to extend attainment.
The unit uses a short story 'My Father is a Polar Bear' in From Hereabout Hill ISBN
07497 28728 by Michael Morpurgo, one of the authors studied in the Year 6 unit, as a
link to previous work. The story is reproduced in full on pages 32-39. This short story
was selected for a number of reasons:
it has resonances with the theme of 'families' in the novels used in the Year 6 unit;
it allows an exploration of the intended objectives, particularly further opportunities todemonstrate the use of a reading journal for response and reflection.
Collections of short stories which might serve the objectives equally well include:
The Wonderful World of Henry Sugar and Six More by Roald Dahl
Badgeron the Barge and Other Stories by Janni Howker
Out of Bounds by Beverley NaidooNothing to be Afraid of by Jan Mark
Activities have been suggested which will enable the pupils to get to know the textquickly, and also allow the pupils and teacher to begin to know each other in these earlyweeks of the term, recognising that in some areas, secondary schools may have new
12 English transition units3
pupils from several feeder schools. To support the planning, sample texts have beenprovided which can be used, adapted or replaced by the teacher's own examples if
preferred.
Resources
The resources consist of Sample Texts 8-10 and Resource Sheets D-H.
Sample Texts 8-10
These are either journal entries for analysis by the teacher (or pupils) or journal entries
for demonstration writing. They are annotated so that the teacher has the informationwhen analysing a journal entry and knows what the pupils should have produced whenthey analyse an entry. They may also help the teacher to decide what to articulate aloudwhen demonstrating writing.
Resource Sheets D-H
These contain detailed information for particular activities and are referenced in theweek plan.
Homework
Suggested homework has been provided for each day. Teachers will decide whichhomework tasks to select according to how often pupils will do homework related toEnglish. None of the lessons depends upon the proposed homework.
Starter activities
These are built into the week plan and detailed notes are provided on Resource Sheet D
on pages 30-31.
Reading journals
The use of reading journals in primary schools is growing. The Year 6 unit is designed to
teach pupils how reading journals can be used effectively (see Resource Sheet A onpage 18). The Year 7 unit continues to do this so that pupils at Key Stage 3 can use
reading journals independently to enhance their reading. However, a second reason forusing reading journals in these transition units is that they provide Year 7 teachers withsome evidence of the quality of the pupils' thinking and their ability to express it inwriting.
In the week plans which follow, the objectives which are addressed in each section ofthe lesson are referenced by number and initial for text (reading or writing) sentence,word, and speaking and listening, e.g. TR17, TW3, S1, W1 ,S&L6.
English transition units 13
4
71T
wo-
wee
k pl
an fo
r Y
ear
7 W
eek
1
rt O n
Less
onS
tart
er10
min
sIn
trod
uctio
nE
stim
ated
tim
e 20
min
sD
evel
opm
ent
Est
imat
ed ti
me
20 m
ins
Ple
nary
10 m
ins
Pos
sibl
e ho
mew
ork
sugg
estio
ns
1 Rec
ap o
fY
6 w
ork
Rev
isio
n of
long
and
sho
rtvo
wel
s. T
each
erde
mon
stra
tion
at th
ebo
ard.
Whi
te b
oard
act
ivity
follo
wed
by
card
sor
t.
Dis
cuss
pur
pose
of r
eadi
ng jo
urna
ls;
pupi
ls r
ecal
l wha
t the
y m
ost
liked
/dis
liked
abo
ut th
e w
ork
they
did
on
Ken
suke
's K
ingd
om a
nd T
he S
uitc
ase
Kid
. Sho
w tw
o Y
6 jo
urna
l ent
ries
asex
ampl
es (
Sam
ple
Tex
ts 8
and
9).
Pup
ilsre
ad o
ut a
sel
ectio
n of
diff
eren
t typ
es o
fjo
urna
l ent
ries
to il
lust
rate
the
poss
ible
rang
e of
res
pons
es. T
R1
7
Pup
ils m
ake
brie
f not
es in
thei
r jo
urna
lsab
out a
boo
k /m
agaz
ine
/pie
ce o
f writ
ing
they
hav
e re
ad a
nd e
njoy
ed s
ince
leav
ing
prim
ary
scho
ol (
5 m
ins)
. In
pairs
, the
y us
eth
e no
tes
to te
ll th
eir
part
ner
abou
t wha
tth
ey h
ave
read
. Titl
es a
nd a
utho
rs a
rew
ritte
n on
Pos
t-its
. TW
3
Pos
t-its
sor
ted
on b
oard
acco
rdin
g to
bro
ad c
ateg
orie
s to
cele
brat
e th
e cl
ass'
s ra
nge
ofre
adin
g an
d va
lidat
e pe
rson
alpr
efer
ence
s. P
upils
not
e in
thei
rjo
urna
ls a
ny ti
tles
whi
ch a
ppea
l to
them
. TR
1 7
Pup
ils w
rite
an u
nstr
uctu
red
jour
nal e
ntry
bas
ed o
nso
met
hing
they
hav
e en
joye
dre
adin
g re
cent
ly. T
R17
71/
1/3
2 Iden
tify
time
stru
ctur
eof
sto
ry
Rec
ap o
f thr
ee w
ays
ofsp
ellin
g lo
ng v
owel
aso
und.
Pup
ils g
ener
ate
wor
ds th
at fo
llow
thes
epa
ttern
s. P
upils
com
pare
wor
ds a
nd le
ngth
s of
list
s.
Bef
ore
read
ing
'My
Fat
her
is a
Pol
arB
ear'
to th
e cl
ass,
dra
w fi
ve e
qual
lysp
aced
line
s ac
ross
the
boar
d (a
s on
Res
ourc
e S
heet
F)
and
ask
the
pupi
ls to
do th
e sa
me
on a
cle
an p
age
of th
eir
jour
nals
. Exp
lain
that
in o
rder
to id
entif
yth
e di
stin
ct e
piso
des
in th
e st
ory,
you
will
paus
e at
rel
evan
t mom
ents
in th
e st
ory
toal
low
pup
ils to
mar
k th
e da
tes
on th
eir
timel
ines
. TR
17
In p
airs
, pup
ils d
iscu
ss a
nd m
ake
note
s on
thei
r tim
elin
es, s
how
ing
wha
t And
rew
find
sou
t abo
ut h
is r
eal f
athe
r:be
fore
he
can
rem
embe
r;as
a y
oung
chi
ld;
as a
teen
ager
;as
an
adul
t.P
upils
then
rer
ead
the
final
par
agra
ph a
ndth
ink
abou
t how
it li
nks
back
to th
e re
st o
fth
e st
ory.
TR
15
Ana
lyse
the
way
s in
whi
ch th
efin
al p
arag
raph
of t
he s
tory
link
sba
ck to
the
begi
nnin
g, e
.g. t
heus
e of
the
pron
oun
He'
s.S
pecu
late
on
why
the
auth
orch
ose
this
title
for
the
stor
y. T
R15
Pup
ils a
re g
iven
ext
ract
from
the
stor
y of
the
trip
to T
he S
now
Que
en to
rea
d in
pre
para
tion
for
next
less
on, a
nd a
sked
to th
ink
of a
n ev
ent t
hey
reca
ll fr
om th
eir
own
past
. TR
1 7
3 Ana
lyse
text
Car
d so
rt in
vest
igat
ion
ofco
mm
on s
pelli
ng p
atte
rns
for
long
i an
d lo
ng e
whe
nfo
llow
ed b
y t.
Rer
ead
the
sect
ion
whe
re th
e br
othe
rsse
e th
eir
fath
er p
erfo
rm a
s a
pola
r be
ar.
Iden
tify
wor
d ch
oice
s an
d se
nten
ceco
nstr
uctio
ns w
hich
pai
nt th
e pi
ctur
evi
vidl
y (R
esou
rce
She
et G
). D
iscu
ss h
owm
emor
ies
of c
hild
hood
can
be
pow
erfu
l,an
d gi
ve a
per
sona
l exa
mpl
e (S
ampl
eT
ext 1
0). T
R 6
In p
airs
, pup
ils te
ll ea
ch o
ther
som
ethi
ngth
ey r
emem
ber
from
whe
n th
ey w
ere
very
youn
g. E
ach
prep
ares
and
ret
ells
thei
rpa
rtne
r's s
tory
to a
noth
er p
air
in 3
rd p
erso
n.A
s a
jour
nal e
ntry
, pup
ils ta
ke th
eir
own
mem
ory,
or
one
they
hav
e he
ard
repo
rted
,an
d m
ake
note
s or
dia
gram
s as
a m
emor
yjo
gger
. S&
L 2;
S&
L 6
Dis
cuss
the
feat
ures
that
mak
esp
oken
rec
ount
s ef
fect
ive
for
liste
ners
. S&
L 2;
S&
L 6
Tas
k re
latin
g to
Wor
d le
vel w
ork.
Pup
ils s
houl
d be
enc
oura
ged
to r
efle
ct o
n M
icha
el M
orpu
rgo
as a
n au
thor
in th
e lig
ht o
f the
ir kn
owle
dge
of K
ensu
ke's
Kin
gdom
and
oth
er n
ovel
s an
d'M
y F
athe
r is
a P
olar
Bea
r' an
d ot
her
shor
t sto
ries.
'Wee
k 2
Less
onS
tart
er10
min
sIn
trod
uctio
nE
stim
ated
tim
e 20
min
sD
evel
opm
ent
Est
imat
ed ti
me
20 m
ins
Ple
nary
10 m
ins
Pos
sibl
e ho
mew
ork
sugg
estio
ns
4 App
ly in
writ
ing
Pup
ils fi
nd u
nstr
esse
dvo
wel
s w
ithin
giv
en g
roup
of w
ords
. Pup
ils g
ener
ate
rang
e of
str
ateg
ies
to h
elp
them
spe
ll th
ose
wor
ds.
Ref
errin
g to
Mor
purg
o's
use
of 't
ruth
mos
tly' i
n hi
s in
trod
uctio
n to
the
stor
y,us
e th
e no
tes
of a
chi
ldho
od m
emor
yan
d, r
efer
ring
to th
e N
arra
tive
Che
cklis
t(R
esou
rce
She
et E
), r
ewor
k th
em in
to a
narr
ativ
e us
ing
dem
onst
ratio
n w
ritin
g(S
ampl
e T
ext 1
0). T
W 3
; TR
15; S
1
Pup
ils r
ewor
k th
eir
own
note
s in
tona
rrat
ives
, dra
win
g on
thei
r ex
istin
gkn
owle
dge
abou
t writ
ing
narr
ativ
e, r
efer
ring
to th
e N
arra
tive
Che
cklis
t (R
esou
rce
She
etE
) an
d in
corp
orat
ing
any
styl
istic
feat
ures
they
hav
e no
ted
in M
orpu
rgo'
s w
ork.
(C
ould
use
thei
r jo
urna
ls fo
r ex
ampl
es.)
TW
3; S
i
Pup
ils r
ead
out e
xam
ples
of h
owth
ey h
ave
deve
lope
d an
ora
lre
coun
t int
o a
writ
ten
narr
ativ
e.O
ther
s id
entif
y th
e te
chni
ques
used
, ref
errin
g to
Nar
rativ
eC
heck
list (
Res
ourc
e S
heet
E).
S&
L2;T
W3
Pup
ils c
ompl
ete
/ref
ine
thei
rna
rrat
ives
. TW
3; S
2
5 Ana
lyse
Car
d so
rt o
f wor
ds w
ithun
stre
ssed
vow
els
toca
tego
rise
and
iden
tify
the
unst
ress
ed v
owel
.
And
rew
say
s 'In
a w
ay I
was
luck
y,be
caus
e I a
lway
s ha
d tw
o fa
ther
s' (
p. 2
9).
Mod
el lo
catin
g te
xtua
l evi
denc
e of
bot
hfa
ther
s an
d re
pres
entin
g im
pres
sion
s of
each
in d
iagr
amm
atic
/pic
toria
l/grid
form
.In
pai
rs, p
upils
use
whi
te b
oard
s or
note
pads
to e
xplo
re a
var
iety
of w
ays
tono
te th
eir
impr
essi
ons
and
to m
ake
afin
al s
umm
ary
of e
ach
fath
er (
Res
ourc
eS
heet
H).
TR
6
And
rew
str
ongl
y ad
mire
s hi
s fa
ther
's s
kill
asan
act
or. A
s a
priv
ate
jour
nal e
ntry
, pup
ilsch
oose
som
eone
they
adm
ire, d
escr
ibe
the
qual
ity th
ey m
ost v
alue
and
say
why
it is
impo
rtan
t. T
W3;
TR
1 7
Sam
ple
the
qual
ities
pup
ils h
ave
chos
en (
not t
he p
eopl
e) a
nd li
stth
em. I
n pa
irs p
upils
thin
k of
oth
erpo
sitiv
e qu
aliti
es, a
nd li
st th
em.
TR
17
Pup
ils r
ank
qual
ities
in o
rder
of
impo
rtan
ce fo
r di
ffere
ntca
tego
ries
of p
eopl
e e.
g.pa
rent
, frie
nd, t
each
er, c
eleb
rity,
etc.
TR
1 7
6 Ana
lyse
text
Gen
erat
ing
lists
of w
ords
begi
nnin
g w
ith th
e le
tter
cfo
llow
ed b
y a
vow
el.
Iden
tifyi
ng th
e in
fluen
ce o
fvo
wel
on
the
lette
r c
.T
each
er in
trod
uces
cy.
'Sho
w m
e' a
ctiv
ity to
disc
rimin
ate
betw
een
hard
and
soft
c.
Rer
ead
sect
ions
that
ref
er to
the
secr
ecy
surr
ound
ing
the
boys
' fat
her
(p. 3
1, li
nes
10-1
6; p
. 33,
line
s 1-
9; p
p. 3
9, li
nes
26-3
0; p
. 40;
p. 4
1, li
nes
1-10
; p. 4
3, li
nes
3-7)
. Lea
d a
disc
ussi
on o
n th
e br
othe
rs'
resp
onse
to th
e fa
mily
sec
ret,
and
thei
rm
othe
r's, f
athe
r's a
nd D
ougl
as' p
ossi
ble
reas
ons
for
initi
atin
g an
d pe
rpet
uatin
gth
e se
cret
. TR
17
Pup
ils c
ompo
se a
jour
nal e
ntry
giv
ing
thei
rpe
rson
al o
pini
on o
f the
adu
lts' d
ecis
ion
toke
ep th
eir
fath
er's
iden
tity
secr
et. T
R1
7 T
W3
Est
ablis
h ho
w m
any
pupi
lsag
ree/
disa
gree
with
the
adul
ts'
deci
sion
. Ask
pup
ils w
ithop
posi
ng v
iew
s to
sha
re th
eir
writ
ten
reas
ons.
TR
17
Pup
ils r
evie
w jo
urna
l ent
ries,
com
plet
e/re
draf
t/ im
prov
e as
nece
ssar
y to
pre
pare
jour
nals
for
join
t Y7
disp
lay
or a
ssem
bly.
TR
17
Year 7 Week 2 Detailed lesson plan
Day 4
Starter: See Resource Sheet D
Introduction
Reread the introduction to the story, where the author writes of having 'woven truthstogether'. Explain that unlike autobiography, which deals in facts, this kind of firstperson narrative by an author about his or her childhood uses some facts, or truths,as the basis of a story, but invents other details in order to draw in the readers andkeep them interested. This means that you can take something quite ordinary orunexciting, and make it much more gripping.
Remind pupils that in the last lesson, they each told a story about their childhood.Ask them to think for a moment or two about the different meanings of the word'story': you meant them to tell each other 'a truth' from their past, not a made-upstory. Clarify that today, the word 'story' will mean a fiction, a made-up narrative.
Tell the pupils that you also had a story 'a truth' from the past, and show your briefnotes about it (part of Sample Text 10). Explain that you are going to do what Michael
Morpurgo says he often does, which is take your 'truth' and turn it into a story byadding in all sorts of invented details. You will be showing them how you can 'weave'a story and make it sound so convincing that you are making 'a truth stranger thanfiction'.
Display a copy of the Narrative Checklist (Resource Sheet E). Remind them that they
used it in Year 6 if they did the Year 6 transition unit, and ask them to notice when youare using one of the features on it.
Using demonstration writing, write the story (Sample Text 10) that is developed fromthe brief notes of yesterday's oral recount. The annotations provide suggestedteaching points which address the stated objectives and allow you to 'think aloud'and explain your decisions about word choices, sentence structure, tone, andvarious other compositional points from the narrative checklist.
Development
Tell the pupils that they will now be taking the brief notes they made of the incidentthey told yesterday, and turning them into a first person narrative, as you have justdone. Remind them to use everything they've learned in the past about writingeffective narratives, and to use the checklist to remind themselves.
Plenary
Ask for volunteers to choose a couple of sentences to read aloud, where they haveused a specific feature from the checklist or from earlier class discussion.
Tell the others to listen carefully to see if they can identify the techniques or featuresthat have been used.
Suggested homework
Pupils could be asked to complete, redraft or refine their narratives as appropriate.
Pupils could be asked to make a comment in their journals, giving their views on'truth' and 'stories'.
16 English transition units 7
Day 5
Starter: See Resource Sheet D
Introduction
Make sure pupils can see a copy of the short story, and have a white board orclipboard (individuals or pairs) on which to record. Find the quotation, In a way I waslucky, because I always had two fathers' (p. 29).
Tell the pupils that you will be looking at some of the references in the text to both ofAndrew's fathers, and together you will be discussing the evidence of how Andrewfeels about each of them, and recording what you deduce or infer.
Remind them that there are many ways of recording our thoughts, views andopinions, and ask pupils quickly to name a few, e.g. words, diagrams of various sorts,pictures. Illustrate a couple briefly on the board to confirm everyone understands. Tellthem that today they will be trying out different techniques to find out which is themost effective way for them to explore ideas.
Explain that you will be recording things for everyone to see as an overall summary ofthe lesson, but that you might try out some other methods as well.
Use Resource Sheet H to locate the relevant page numbers and quotations. For aselection of examples, read the quoted phrase or sentence, and ask the pupils todecide, in pairs, what they can tell from it about Andrew's view of each of his fathers,referring to the text for evidence. For the first few quotations, take feedback, andonce a viewpoint has been established, ask pupils to record this in some way.Encourage pupils to try out different ways of recording. Ask them to show you theirwhite boards or clipboards, and pick out a variety of responses, emphasising thatthere is no correct way of responding; this is a chance to experiment.
After the first few quotations, it should be possible for the pupils to discuss thequotation and record the information without taking feedback so that pace ismaintained.
When you decide that the pupils have recorded enough to summarise Andrew'sfeelings about each father, ask them to do this using the recording technique theyprefer (spidergram, list, sketch, etc.) and discuss the fact that although there isprobably broad agreement about viewpoint, this can be noted in many different ways.
Development
Remind the pupils that one quality Andrew clearly admires in his real father is hisacting skill, as he makes several references to it.
Ask them to choose someone they admire, and decide on the quality they most valuein that person, and why it is important.
Pupils write a private entry in their journals, describing the quality they admire andsaying why they think it is important.
Plenary
Make a list of as many as possible of the different qualities (not the people) that pupilshave chosen. In pairs, pupils think of other positive qualities, and record these in anyform they choose, drawing on their explorations in the main part of the lesson.
18English transition units 17
Resource
V) Using a reading journalL1J
Reading journals, sometimes known as reading logs, can take a variety of forms andcan involve different people: pupils only, pupils and teacher in dialogue, pupils, teacherand parents in a two- or three-way written dialogue. In this unit, suggestions are madeas to possible ways of using a journal with Year 6 and Year 7 pupils, but these can be
0 adapted and altered to suit a wide range of purposes, depending on the teacher'spriorities. Before deciding how to make use of the materials in this unit, you may want to
Cf) consider the following:
L1J Reading journals can provide a space for critical reflection and evaluation.
Entries can take an infinite variety of forms: jottings, notes, ideas, diagrams, grids,charts, sketches, lists, mind maps, questions, predictions, diary entries, letters,playscripts, poems, stories, as well as more formal writing such as reviews or piecesrelated to close analysis of character, plot, setting, author's choice of language, and
so on.
Journals can provide pupils with an opportunity to speculate, explore, play with ideasand be tentative and uncertain in their responses. This may be particularly importantfor pupils who, for any number of reasons, currently find it difficult to express theiropinions orally.
Journals can allow pupils, whatever their reading ability, not only to respond to texts,but to investigate how the author provoked that response.
'Transformation pieces' are those where an idea or theme from the text has beentransformed into another medium such as a poem, a letter or even a picture.
The following list was contributed by a Year 6 teacher.
What can I write in my reading journal?
Write a description of the main character their looks, the way they dress, the way
they talk and their personality.Choose a descriptive passage and make a list of examples of vivid imagery, e.g.similes, metaphors, alliteration, personification, noun phrases, etc.List the words and phrases used to create an atmosphere, e.g. a scary or spooky
one.
Write about what a character might be thinking or feeling at any stage of the storyyou could write it in the first person.Predict when you are about half way through a book, what might happen.Write down some words you had difficulty reading and had not met before. Findtheir meanings in a dictionary and write them down.Write about your favourite part of a book and why you liked it.Write down three facts you have learned from a non-fiction book.Pick a descriptive word from the text, write it down and, using a thesaurus, writedown five synonyms and antonyms for that word.Write about how a non-fiction book is set out.Write some advice to a character in trouble.Write a diary entry that a character might write after an incident in the story.Challenge yourself! Write a 50-word summary of a whole plot!Write whether you would recommend the book or not, and why.
18 English transition units
Comparison of the openings of Kensuke's Kingdomand The Butterfly Lion by Michael Morpurgo
Michael Morpurgo has written both of these texts in the first person. Ithink this gives them a more private feeling as if the narrator is actuallytalking just to me when I read the text, so I feel really involved. Bothnarrators are also the main characters of the stories they tell, whichmeans that they will be directly involved in the action. I think this deviceusually makes books more convincing. Furthermore, both introductionsuse a flashback technique, with the narrator thinking back and explainingsomething significant in his past. This time-travel idea is alwaysinteresting, making it a bit like reliving someone's personal history. It isalso reassuring because, no matter how scary or dangerous events mayget, I know that the narrator has survived to tell the tale!
Both openings refer to promises made in the past. One promise was toKensuke but we are kept in suspense as to who this might be. The otherpromise to 'them' also remains a mystery. Everyone makes promises, sothis is a point of contact with readers. But these promises seem especiallydramatic because, even as adults, the narrators have never forgottenthem and have never broken them.
The short opening sentence from Kensuke's Kingdom is stark, dramatic andmysterious, hooking in the reader straight away. Possibly linking with theidea of 'coming back from the dead', it makes this a sensational opening.Michael Morpurgo also uses an emotional hook in the opening of TheButterfly Lion, but the content is less dramatic, so he boosts it withcolourful, descriptive language to build attractive images. The shortopening sentence just states a simple fact about butterflies, but it reliesheavily on the universal appeal of these beautiful creatures to draw in hisreaders. The author reflects on the poignant fact of life that butterflies'flower and flutter' gloriously, but die all too soon. After that, I reallywanted to find out more about the fantastical butterfly lion, 'blue andshimmering in the sun', that the narrator assures us was not a dream. Icouldn't tell straight away what the story would be about, but myimagination was captured by the butterflies!
English transition units 19
2 0
CoK
utK
tioK
meK
tioni
K6
tkt a
utho
r (2
8 K
AS
te.
jVtA
kitt6
A tu
kKic
Al p
oint
, tkt
a ba
ckin
g it
up N
itk A
pty-
soK
aa r
eact
ioK
App
raia
tioK
/tx-p
laK
atio
K o
f Ata
koriA
l tea
utio
tUG
'Dis
t of d
iscu
ssio
K c
oKitt
ctiu
t to
stru
ctur
e po
ints
of
CO
NT
AY
iSO
K
Clo
se r
eftr
eaLt
to c
onte
nt
Com
paris
on o
f the
ope
ning
s of
Ken
suke
's K
ingd
om, a
nd
The
But
terf
ly L
ion
by M
icha
el M
orpu
rgo
Mor
purg
d) h
as w
ritte
n bo
th o
f the
se te
xts
in th
efrs
t per
soi'y
I
.thin
k th
is g
ives
them
a m
ore
priv
ate
feel
ing:
-as
if th
e in
arra
tOrr
is-a
cyfa
lf
talk
ing
just
to m
e w
hen
I rea
d th
e te
xt, s
o I f
eel r
eally
invo
lved
ridot
h
narr
ator
s ar
e al
so th
e' m
ain
char
acte
rs`
ofst
orie
s th
ey te
ll, w
hich
mea
ns th
at th
ey w
ill b
e di
rect
ly in
volv
ed in
the
actio
n. I
thin
k th
is (
devi
ce)
---t
tsua
lly m
akes
boo
ks m
ore
conv
inci
ng.(
rUitl
iert
iiiie
) bo
th in
trod
uctio
ns
use
a"- ; f
lash
back
tech
niqu
e4.-
with
lhe
narr
ator
thin
king
bac
k an
d ex
plai
ning
som
ethi
ng s
igni
fican
t in
his
past
. Thi
s tim
e-tr
avel
idea
is a
lway
s
,--
inte
rest
ing,
mak
ing
it a
bit l
ike
reliv
ing
som
eone
's p
erso
nal h
isto
ry. I
t is
also
rea
ssur
ing
beca
use,
no
mat
ter
how
sca
ry o
r da
nger
ous
even
ts m
ay
get,
I kno
w th
at th
e na
rrat
or h
as s
urvi
ved
to te
ll th
e ta
le!
Bot
h op
enin
gs r
efer
toro
mis
em
ade
in th
e pa
st. O
ne p
rom
ise
was
to
Ken
suke
but
we
are
kept
in s
uspe
nse
as to
who
this
mig
ht b
e. T
he o
ther
prom
ise
to 't
hem
' als
o re
mai
ns a
mys
tery
. Eve
ryon
e m
akes
-pro
mis
es, s
o--
-th
is is
a p
oint
of c
onta
ct w
ith r
eade
rs. (
But
)the
se p
rom
ises
see
m e
spec
ially
7
dram
atic
bec
ause
, eve
n as
adu
lts, t
he n
arra
tors
hav
e ne
ver
forg
otte
n th
em
and
have
nev
er b
roke
n th
em.
'Use
. Of H
ON
.titit
t OA
ilk
SU
OK
A C
LAU
SG
Impl
ies
that
the
hook
ing
effe
ct is
ong
oing
AK
A/o
r W
illT
he s
hort
ope
ning
sen
tenc
e fr
om K
ensu
ke's
Kin
gdom
is s
tark
, dra
mat
ic a
nd
Al A
S W
ork
riom
yste
d< h
ooki
ng,:
in th
e re
ader
str
aigh
t aw
ay. P
ossi
bly
linki
ng w
ith th
e(n
)8id
ea o
f 'co
min
g ba
ck fr
om th
e de
ad',
it m
akes
this
a s
ensa
tiona
l ope
ning
.
Mic
hael
Mor
purg
o al
so u
ses
an e
mot
iona
l hoo
k in
the
open
ing
of T
he
But
terf
ly L
ion,
but
the
cont
ent i
s le
ss d
ram
atic
, so
heit
with
App
reci
atio
n of
aut
horia
l tec
imic
tut
colo
urfu
l, de
scrip
tive
lang
uage
to b
uild
attr
activ
e im
ages
:The
stor
t..--
----
open
ing
sent
ence
just
sta
tes
a si
mpl
e.fa
ct-a
bout
baf
eitli
es, b
ut it
rel
ies
heav
ily o
n th
e 'u
nive
rsal
; app
eal o
f the
se b
eaut
iful c
reat
ures
to d
raw
in h
is
read
ers.
The
aut
hor
refle
cts
on th
e po
igna
nt fa
ct o
f life
that
but
terf
lies
'1:r
flovv
er a
nd fl
utte
r'; g
lorio
usly
, but
die
all
too
soon
. Afte
r th
atI r
eally
\ wan
ted
to fi
nd o
ut m
ore
abou
t the
fant
astic
al b
utte
rfly
lion
, lb1
1.7e
ai"d
shim
mer
ing
in th
e su
n',\1
that
the
narr
ator
ass
ures
us
was
not
a d
ream
. I
coul
dn't
tell
stra
ight
aw
ay w
hat t
he s
tory
wou
ld b
e ab
out,
but m
y
imag
inat
ion
was
cap
ture
d by
the
butte
rflie
s!
`Use
of s
kort
quo
tatio
ns fr
om tk
t tex
t; us
ing
AlA
tkO
'C'S
0/41
( (N
OY
AS
to fa
reat
t tkt
mA
6ic
----
RE
SO
UR
CE
S
VO
CA
bthI
AY
8
CO
NA
CK
Stit
tWe.
use
d to
Set
out
A c
ause
/effe
ct
rtlA
tioK
skip
; use
. of '
Nkl
at. a
s C
Oitl
iatil
A
6uat
uatio
K o
f im
pact
sour
ce O
f int
eres
t;
reas
sura
nce
'FV
CS
OK
A1
resp
oKse
iKtty
-Nou
tK k
itk A
kAts
sis
75el
ibtr
att u
se o
f '-'1
31A
t' to
sta
rt A
SlA
tCA
LGus
ed
to ,S
i6K
A c
lear
lu3
A p
oint
to C
OW
Com
pftx
-sea
teac
t to
expl
ain
the
inte
rest
fact
ors
in
tht p
rom
ises
; inc
lude
s A
dro
p -in
ele
men
t 'G
UM
AS
Adu
lts' t
0a04
viito
tkt C
ON
:ilA
FtL
tiOkt
BE
ST C
OPY
AV
AIL
AB
LE
{' in
iski
K9
with
A c
onvi
ncin
g pe
rson
Al e
valu
atio
n
usin
g A
K id
ea th
at li
nks
effto
tiutl
Nitk
the
text
Resou omit°
Extracts from The Butterfly Lion andThe Dancing Bear
The Butterfly Lion - opening paragraphsChilblains and Semolina Pudding
Butterflies live only short lives. They flower and flutter for just a few glorious weeks,and then they die. To see them, you have to be in the right place at the right time. And
that's how it was when I saw the butterfly lion I happened to be in just the right
place, at just the right time. I didn't dream him. I didn't dream any of it. I saw him, blue
and shimmering in the sun, one afternoon in June when I was young. A long time ago.
But I don't forget. I mustn't forget. I promised them I wouldn't.
I was ten, and away at boarding school in deepest Wiltshire. I was far from home and I
didn't want to be. It was a diet of Latin and stew and rugby and detentions and cross-country runs and chilblains and marks and squeaky beds and semolina pudding. Andthen there was Basher Beaumont who terrorised and tormented me, so that I livedevery waking moment of my life in dread of him. I had often thought of running away,but only once ever plucked up the courage to do it.
The Dancing Bear- opening paragraphsI was born in this mountain village longer ago than I like to remember. I was to havebeen a shepherd like my grandfather and his grandfather before him, but when I wasthree, an accident left me with a limp. Shepherding wasn't ever going to be possible,
so I became a teacher instead.
For nearly forty years now, I have been the schoolmaster here. I live alone in a house
by the school, content with my own company and my music. To play my hunting hornhigh in the mountains, and to hear its echoes soaring with the eagles, is as close as I
have been to complete happiness.
Yet I suppose you could say that I became a sort of shepherd after all: I shepherdchildren instead of sheep, that's all. I teach them, and I'm a kind of uncle to them evenafter they've left school. They think I'm a bit eccentric I play my horn and I talk to
myself more than I should. Like all children, they can be a bit cruel from time to time.
They call me 'Three Legs' or 'Long John Silver' when they think I'm not listening, butyou have to put up with that.
The Dancing Bear- page 10Roxanne was about seven years old at the time. An orphan child, she lived with hergrandfather, who was a dour and unloving man. She was a solitary girl, but neverlonely, I think. At school, she appeared to be a dreamer, a thinker. After school, withher grandfather busy in his fields, she would often wander off by herself, watchingrabbits, maybe, or following butterflies. She was forever going missing. Then hergrandfather would come shouting around the village for her. When he found her, hewould shake her or even hit her. I protested more than once, but was told to mind myown business. A friendless, bitter old man, Roxanne's grandfather was interested innothing unless there was some money in it. Roxanne was a nuisance to him. She
knew it and everyone knew it. But he was the only mother and father she had.
English transition units
21
22
RE
SO
UR
CE
S
Com
paris
on o
f the
ope
ning
s of
Ken
suke
's K
ingd
om a
nd T
he D
anci
ng B
ear
by M
icha
el M
orpu
rgo
Ope
ning
of K
ensu
ke's
Kin
gdom
Ope
ning
of T
he D
anci
ng B
ear
Cha
ract
erM
ale
- no
t yet
nam
edM
ale
- no
t yet
nam
ed
Voi
ceF
irst p
erso
n -
'I'F
irst p
erso
n -
'I'
Ver
b te
nse
Pas
t ten
se to
sta
rt
Sw
itche
s to
pre
sent
in s
econ
d pa
ragr
aph
Pas
t ten
se to
sta
rt
Sw
itche
s to
pre
sent
in s
econ
d pa
ragr
aph
Con
tent
Fla
shba
ck -
look
ing
back
ove
r m
ore
than
10
year
s
Spe
cific
dat
e/ev
ent -
dis
appe
ared
12/
7/88
; nig
ht b
efor
e bi
rthd
ayD
ram
a an
d m
yste
ry -
dis
appe
aran
ce a
nd li
es
Fla
shba
ck -
look
ing
back
ove
r m
ore
than
40
year
s of
teac
hing
Gen
eral
info
rmat
ion;
no
spec
ific
focu
sC
alm
, ref
lect
ive
and
cont
ent
Mai
n ho
okH
ow/w
hy d
id h
e di
sapp
ear?
How
did
he
com
e ba
ck?
Who
is K
ensu
ke?
Why
did
he
mak
e th
e w
riter
lie?
Why
was
he
so g
ood?
Mild
inte
rest
in c
hara
cter
; stil
l bui
ldin
g ...
Oth
erch
arac
ters
Ken
suke
- m
yste
rious
; a g
ood
man
? B
ut h
e m
ade
the
writ
er p
rom
ise
toke
ep q
uiet
and
mad
e hi
m li
e
Any
oth
erpo
ints
You
ng m
an; i
ncid
ent f
rom
boy
hood
The
re is
a c
hang
e ...
the
writ
er c
an s
peak
out
now
Ter
se, c
lippe
d st
yle
- qu
ite u
rgen
t
Old
er m
an; s
choo
lteac
her
No
hint
of c
hang
e
Ele
gant
sty
le; l
itera
ry ..
. sui
ts a
sch
oolte
ache
rP
ower
ful i
mag
e -
mus
ic 's
oarin
g w
ith e
agle
s'
Com
paris
on o
f the
ope
ning
s of
Ken
suke
's K
ingd
om a
nd T
he D
anci
ng B
ear
by M
icha
el M
orpu
rgo,
with
ann
otat
ions
Tab
le o
r ch
art c
onta
ins
SA
W.
kes
poin
ts o
f inf
orm
atio
n A
s
Wou
ld p
rose
equ
ival
ent
J\10
AM
A fo
r fu
nctio
n W
ords
LAV
A fo
r 09
Aot
iSA
tiON
. or
for
gram
mat
ical
cor
yezt
atss
'Poi
nts
of c
ompa
rison
can
be
acce
ssed
/sca
nned
qui
ckl8
and
casi
t8
Ope
ning
of K
ensu
ke's
Kin
gdom
Ope
ning
of T
he D
anci
ng B
ear
Cha
ract
erM
ale
- no
t yet
nam
edM
ale
not y
et n
amed
Voi
ceF
irst p
erso
n -
'I'F
irst p
erso
n -
'I'
Ver
b te
nse
Pas
t ten
se to
sta
rtS
witc
hes
to p
rese
nt in
sec
ond
para
grap
h
Pas
t ten
se to
sta
rtS
witc
hes
to p
rese
nt in
seco
nd p
arag
raph
Con
tent
Fla
shba
ck -
look
ing
back
ove
r m
ore
than
10
year
sS
peci
fic d
ate/
even
t - d
isap
pear
ed12
/7/8
8; n
ight
bef
ore
birt
hday
Dra
ma
and
mys
tery
- d
isap
pear
ance
and
lies
Fla
shba
cklo
okin
g ba
ckov
er m
ore
than
40
year
s of
teac
hing
Gen
eral
info
rmat
ion;
no
spec
ific
focu
sC
alm
, ref
lect
ive
and
cont
ent
Mai
n ho
okH
ow/w
hy d
id h
e di
sapp
ear?
How
did
he
com
e ba
ck?
Who
is K
ensu
ke?
Why
did
he
mak
e th
ew
riter
lie?
Why
was
he
so g
ood?
Mild
inte
rest
in c
hara
cter
; stil
lbu
ildin
g ...
Oth
erch
arac
ters
Ken
suke
- m
yste
rious
; a g
ood
man
?B
ut h
e m
ade
the
writ
er p
rom
ise
to k
eep
quie
t and
mad
e hi
m li
e
Any
oth
erpo
ints
You
ng m
an; i
ncid
ent f
rom
boy
hood
The
re is
a c
hang
e ...
the
writ
er c
ansp
eak
out n
owT
erse
, clip
ped
styl
e -q
uite
urg
ent
Old
er m
an; s
choo
lteac
her
No
hint
of c
hang
eE
lega
nt s
tyle
; lite
rary
... s
uits
a sc
hool
teac
her
Pow
erfu
l im
age
-mus
ic's
oarin
g w
ith e
agle
s'
ivte
tala
noua
6e u
sed
both
inhe
adin
gs /l
abel
s an
d in
note
s
,Not
e -f
orm
rec
ordi
ng
quic
k an
d ef
ficie
nt
'Pro
se p
assa
ge W
ould
hav
e to
be r
ead
mor
e C
Aftt
iA(l8
1-G
SS
infS
OitA
V th
an p
rose
no o
ppor
tuni
t8 to
mak
e th
e
Writ
ing
or O
frO
t
sAoH
nosa
RE
SO
UR
CE
SC
ompa
ring
and
cont
rast
ing
the
intr
oduc
tion
of th
e ch
arac
ters
of K
ensu
kean
d R
oxan
ne
Dem
o-w
rite
grid
ItV
5csc
riptio
ot
sepa
rate
d
iput
o va
rious
futu
res
Ken
suke
Rox
anne
How
cha
ract
er fi
rst s
een
by r
eade
r
Thr
ough
firs
t per
son
narr
ator
's e
yes.
His
first
impr
essi
on -
initi
ally
mis
take
n fo
r an
oran
g-ut
an.
Thr
ough
ifirs
t per
son
narr
ator
eyes
. Giv
esa
few
fact
s ab
out h
er li
fe. S
umm
aras
tis-
know
ledg
e of
her
up
to th
e po
int w
here
the
stor
y st
arts
.
Phy
sica
l app
eara
nce
Ver
y sm
all,
very
old
and
thin
. Cop
per
colo
ursk
in. N
early
bal
d, w
ispy
bea
rd. H
oode
dey
es. M
oves
fast
. Wea
rs o
nly
trou
sers
and
knife
.
Abo
ut 7
yea
rs o
ld. N
o de
tails
of p
hysi
cal
appe
aran
ce.
,,._
Cha
ract
er's
feel
ings
Fur
ious
and
ver
y up
set.
No
evid
ence
of R
oxan
ne's
feel
ings
abo
uthe
r gr
andf
athe
r fo
r th
e w
ay h
e tr
eats
her
.
Wha
t cha
ract
er s
ays
Yel
ls o
ne w
ord
over
and
ove
r th
at is
cle
arly
impo
rtan
t to
him
.D
oes
not s
peak
.
Pre
sent
atio
n of
cha
ract
erT
hrou
gh a
utho
r's e
yes.
See
how
Ken
suke
look
s, b
ehav
es, s
peak
s an
d fe
els,
as
if he
is
in fr
ont o
f us.
Des
crib
ed a
s:si
5lita
ry; b
ah-6
f foi
iely
Fou
rkn
owle
dge
of h
er is
haz
y an
d va
gue,
as
ifw
e se
e he
r fr
om a
dis
tanc
e. P
ossi
bly
wilf
ul,
unha
ppy,
sul
len.
Dem
o-w
rite
pros
e (f
irst p
arag
raph
)
----
Cor
rea
talu
tical
/st
ctA
lAK
6uA
6e
{KtO
rSK
AtiO
K 6
10e,
K
1K K
Ote
,tO
YIK
6uid
e4ta
from
text
1 H
8pot
Ittsi
sitt9
fron
t
6iva
t btfo
rwia
tiott
'pof
The
ffirs
tper
son
narr
ator
yof '
Ken
suke
's K
ingd
om' b
elie
ves
he h
as g
limps
ed a
n or
ang-
utan
, and
sin
ce w
e as
rea
ders
, are
Cxp
Lept
atio
kt c
lort
exp
ress
ed
wte
.to,
---
seei
ng e
very
thin
g th
roug
h hi
s ey
es, w
e ar
e st
artle
d by
the
very
sho
rt s
ente
nce,
'He
was
a m
an',
just
as
the
narr
ator
was
tkro
u6k
com
ptcx
-sex
ttptL
e.
lakt
imay
.N
Nsh
ocke
d to
see
a h
uman
. We
are
give
n a
vivi
d de
scrip
tion
of h
is p
hysi
cal a
ppea
ranc
e, p
artic
ular
ly th
roug
h th
e us
e of
ower
furv
erbs
s;su
ch a
s sc
oopi
ng, a
gita
ted,
trem
blin
g, s
haki
ng, g
estic
ulat
ing
and
hara
ngui
ng, w
hich
con
vey
the
sens
e of
sudd
en m
ovem
ent a
nd th
reat
cont
rast
,'alth
ough
Rox
anne
is a
lso
intr
oduc
ed to
us
by a
firs
t per
son
narr
ator
who
has
Cop
utut
iut
obvi
ousl
y-se
en-h
eFira
ny ti
mes
, he
give
s us
no
deta
ils a
t all
of h
er a
ppea
ranc
e so
that
we
have
to c
reat
e ou
r ow
n pi
ctur
e
si9"
114(
9us
ing
our
imag
inat
ions
.di
ftere
kta
Ann
otat
ed d
emo-
writ
e of
lette
r to
an
agon
yau
nt
Ao0
K8
AU
KtS
kA
060K
thj0.
6 fir
stK
AM
MC
outp
tcx-
Sta
tCA
CC
CO
KtA
iKIK
6 th
at
subo
rdin
ate
clau
ses
to 6
ct tk
tea
souv
ays
peop
t e. t
o fa
( tk
kAU
G A
tfie
ttei t
O tU
YA
tO
Aak
ta k
as b
eta
read
ing
abou
t otk
trs'
prob
lem
spu
-kap
S k
OpI
K6
to fi
nd A
K
to h
ex O
pot
Site
.is
awar
e O
t NkA
t oth
er's
arig
ht tk
ink
suat
autr
ists
tkt s
ituat
ioa
caus
ia6
tkt p
rof:g
ait
ivto
rt ti
kt s
poke
n la
asua
6t tk
aa
Writ
ten
lang
uage
I alw
ays_
read
go. u
r le
tters
pag
e)in
the
pape
r, a
nd I
know
my
prob
leih
-
( m
ight
not
see
m v
ery
serio
L*om
pare
d to
som
e pe
ople
-'8",
-but
to m
eit
is. M
y m
um a
nd d
ad s
plit
up a
whi
le a
go, a
nd-f
lake
it in
turn
s to
stay
with
them
. The
trou
ble
is th
at m
y m
um's
mov
ed in
with
a m
an
who
's g
ot a
dau
ghte
r m
y ag
e, w
hich
is 1
0, a
nd I
can'
t sta
nd h
er.
Whe
neve
r I s
ee m
y m
um, I
hav
e to
sha
re a
bed
room
with
my
step
sist
er K
atie
. She
is v
ery
two-
face
d an
d uc
ks u
to a
dults
, who
)._a
pses
in.to
iato
rmA
l, K
olts
taftd
owd
all t
hink
she
's s
wee
t. If
only
they
kne
w! S
he te
ases
mea
ll_th
atim
e-7-
7A
s sk
t txr
assu
s ke
r ta
liK8S
abou
t Kat
ie.
iKtO
OK
AtiO
K it
CLO
KO
Shi
CA
R,
abou
t my
nam
e, s
he6o
n'T
hiäh
er s
iuff,
_,or
take
turn
s, a
nd s
tart
s
argu
nnen
ts0B
ecau
se s
he's
muc
h sm
alle
r)th
an m
e-,-
-eve
ryon
e ta
kes
her
side
and
I en
dup
get
ting
the
blam
e.lt'
s so
unf
air.
She
has
j_ch
t8ty
- S
tAIC
KLL
GO
KtA
iKiK
o (it
of
idea
wha
t it's
like
to h
ave
to li
ve in
two
diffe
rent
pla
ces,
or
how
mis
dem
eano
urs
muc
h I m
iss
our
old
hous
e. I
feel
so
mis
erab
le a
nd,1
can
't te
ll m
y
&D
NS
her
SLA
V, O
f ttA
llia6
KO
Mt t
Om
um o
r m
y da
dabo
ut it
. Wha
t can
I do
?tu
ra to
Coa
t use
ot l
AK
OU
A6L
for
A le
tter
You
rs s
ince
rely
)
And
rea
Wes
t
SDO
H11
0S3H
CO
RE
SO
UR
CE
S
7)A
nnot
ated
dem
o-w
rite
of th
ird p
erso
n su
mm
ary
and
bala
nced
gju
dgem
ent o
f a c
onfli
ct e
vent
O
Coo
rtut
ive
diso
6rea
lout
t
Infe
rred
{ro
w K
atie
s be
havi
our
lAse
o f
subo
rdin
ate
clau
se to
(T
eo s
ente
nce
CO
KA
GC
tia u
sed
to o
pc&
a b
AtA
KaA
arg
umen
t
----
-Mr_
s W
est,
And
rea'
s m
othe
r, w
ante
d A
ndre
a to
live
with
her
perm
anen
tlytio
wev
e5)M
r W
est d
ispu
ted
this
and
com
plai
ned
in
writ
ing,
in a
dditi
on to
mak
ing
num
erou
s vi
sits
and
tele
phon
e ca
lls.
Whi
le A
ndre
a w
as il
l in
bed,
Kat
ie h
eard
of t
he p
ropo
sal t
hat A
ndre
a
shou
ld m
ove
in w
ith th
em fo
r go
od,,W
hich
cam
e as
a s
hock
to h
erj
Kat
ie w
as u
sed
to h
avin
g he
r ow
n be
droo
m, a
nd, a
s sh
e an
d
And
rea
did
not g
et a
long
, did
not
look
forw
ard
to h
avin
g to
sha
re it
perm
anen
tly. K
atie
was
alm
ost c
erta
inly
jeal
ous
of A
ndre
a's
mum
,--
----
-- and_
rese
nted
the
time
and
atte
ntio
n he
r da
d w
as g
ivin
g to
his
new
part
ner.
Una
ble
to e
xpre
ss h
er fe
elin
gs o
f jea
lous
y an
d re
sent
men
t
to a
nyon
e, K
atie
was
taki
ng h
er a
nger
out
on
And
rea.
Bec
ause
she
hers
elf w
as fe
elin
g ig
nore
d an
d re
ject
ed b
y he
r da
d, s
he tr
ied
to
mak
e A
ndre
a fe
el ig
nore
d an
d re
ject
ed to
o, b
y cl
aim
ing
that
beith
erof
And
rea'
s pa
rent
s tr
uly
wan
ted
her.
She
was
pro
babl
y pi
ng w
hat
som
e pe
ople
do
whe
n th
ey a
re s
ad a
nd u
pset
:bei
ng h
urtfu
l to
som
eone
els
e, e
ven
blam
ing
them
for
thin
gs th
at a
re n
ot th
eir
faul
t.
(Alth
ough
)Kat
ie b
ehav
ed b
adly
to A
ndre
a in
this
epi
sode
in th
e
stor
y, it
is im
port
ant t
o ta
ke in
to a
ccou
nt K
atie
's e
mot
ions
. She
has
had
to c
ope
with
a n
ew m
um a
nd s
teps
iste
r en
terin
g he
r lif
e, a
nd
this
has
pro
babl
y m
ade
her
conf
used
and
ang
ry.
'.:1e
.4tu
ced
from
(C
anes
que
stio
n:
Kot
obi
to b
e he
re o
tNa8
s?'
CO
(OK
use
d be
fore
ioto
rsto
tioo
tkot
expa
nds
Of i
llust
rate
s at
moi
o. d
ouse
\\)2L
CIA
(AtiO
K, b
ased
OK
feiA
tIKS
issu
es fr
om
tke
stor
8 to
ohm
Wid
er e
xper
ienc
e
Language investigations
ObjectivesSentence level to conduct detailed language investigations through ... reading;Word level to invent words using known roots, prefixes and suffixes, e.g. vacca +phobe = someone who has a fear of cows;
Sampling Morpurgo's choice of vocabulary and use of sentence structure in Kensuke'sKingdom: suggested passages for discussion.
p.128 - final paragraph
The gibbons howled their accusations at me ... the entire forest cackling andscreeching its condemnation.'
Discuss how we can deduce from this paragraph Michael's feelings of guilt, and howthey make him imagine that the whole world knows what he has done. Identify the use ofpersonification (howled their accusations ... screeching its condemnation) and discussits effects.
Suggestion for supported composition (oral or written): tell the children to imagine theyhave done something they feel guilty about, and that they are running through the localstreets. Try thinking up a sentence based on the structure of 'The gibbons howled ...using images based on local surroundings, e.g. houses, cars, street lights, cats' eyes,etc.
p. 106 - lines 7-19
'Nothing in the forest alarmed him, not the howling gibbons ... not the bees thatswarmed about him ... '
Discuss the structure of this sentence: the effect of starting it with the word Nothing, thecumulative effect of not the ... not the ...
Reread the whole paragraph. Can we infer anything about Michael's feelings forKensuke from this description?
p.119 - main paragraph
Kensuke starts to tell Michael his life story. Identify the verb tenses. All except one(came) are present tense, and Kensuke always speaks in the present tense, almostnever past or future. Encourage the children to speculate on why that might be, askingthem to think about Kensuke's past, and his future.
p.108-109 - description of daily life
Michael experiences many things on the island which are completely new to him andwhich he does not know the real names of, e.g. 'a thick pulpy fruit juice'; 'red bananas';'painting shells'; 'raw fish'. Using dictionaries and prior knowledge of word roots,prefixes and suffixes, invent possible names for these or other objects.
English transition units 27
28
Annotated demo-write of poem
jVtiCkAer S tint nACtiOit AS ke
NAtckes Kensuke YlAilt kis beACOK is
furl. riAsikui utrbs of force, power
AKA pail( to show how kt feels.
"SittjuAk becomes 'A spot OK
the korizoi,'..
.....Michael's kope beki rescutA
..
disappears bit b8 bit.
"HIS tedlitSS StAliK6 back Witt. to
anger. was so e.Krayd . . .
Feet stampingGlass shatteringBlood poundingFists clenchingTears stinging
Fade --'Ship shrinkingHope seepingLife stretchingHeart swelling
Eyes filling ..
Michael sus KtAsukt's tv 'full ofray' AKA jklCkAtt'S owl( AK6LY grows
as KGH.SlAke. destroys his beacoA.
.......... iAsiA6 powerful utrbs from tkt text
that create A uiuid picture. of KtAsukt's
destructioA.
Rage
AiLyrbAYKS to despair AS
kt realises the coAstiquekwes o f NkAt
KeAsukt has done.
Michael ima6Mes beiA6 stuck the
island for tkt rest of kis lift as if it
were A prisoA sentence A liftstrttck'.
Jvtickaitl's sadAess, As ke realists kis
IoKyiny for home is koptltss, becomes
unbearable.
Further points about the language
Rage 1 Using half-rhymes to draw attention to these words. The idea of emotions surging back and forth
Fade 1 is meant to suggest the constant sound of the waves which would be ever present on the island.
Rage
-ing words: using verbs to emphasise action, both the external, visible actions of Kensuke, and also the
violence of Michael's feelings.
28 English transition units
29BEST COPY AVAILABLE
Story map of conflict in Kensuke'sKingdom
7.01
m
Tracking/mapping the events in the novel which signal the transformation of the 0C
At each of these moments in the novel, Kensuke is in a position of power andauthority,over Michael. The language is that of prisoners and captors. The conflict between themreaches a climax when Kensuke destroys Michael's beacon.
m
relationship between Michael and Kensuke
p. 76 'We were not friends. We would not be friends ... He would keep me alive ...but only so long as I lived by his rules.'
p. 82 'Surely this must mean that he had forgiven me ... ?'
p. 86 'He was looking after me, ... but he was also keeping me prisoner.'p. 87 'Who I thought of now as my captor.'p. 91 'This was a command that I should obey.'p. 95 'The old man was standing over me ... he dismantled my beacon.'
p. 98 Kensuke rescues Michael from being stung to death by jellyfish, but the actualevent is not described.
This episode marks the turning point in their relationship.
p. 100 'My erstwhile enemy, my captor, had become my saviour.'p. 104 'He gave it to me. His smile said everything.'p. 105 'I was to fish with him.'p. 110 'He took such a delight in teaching me (to paint).'Kensuke has taken on the role of parent to Michael.
p. 112 'You teach me speak English.'
Michael has something to give Kensuke in return: the relationship begins to be morebalanced.
p. 113 'The long silence in which our friendship had been forged ... ' (compare p. 76).p. 124 'It had been Kensuke ... who had saved me.'Michael discovers that he has owed Kensuke his life all along.
p. 129 Michael betrays Kensuke's trust by sending a letter in a bottle.Michael's action alters the relationship briefly.p. 132 'I grieved for my lost friendship ... What I had done was ... treachery.'
Kensuke gradually realises Michael's need to go home, and decides to act unselfishlyp. 137 'It was after our reconciliation ... '
The friendship is re-established, and is stronger than ever. Each begins to understandthe needs and feelings of the other. Their differences are resolved.p. 159 Kensuke makes Michael promise to keep his existence a secret.The two characters are now in a position of equality. Each loves and respects theother
English transition units 29
30
(I)
Starter activities Year 7
Lesson 1
Remind pupils of long and short vowel distinction. Write up a sentence that includeslong and short a e.g. 'Amy ate an apple'. Ask pupils in pairs to copy the sentence onpersonal white board and mark up long and short vowels e.g. underline long a, put aring round short a. Ask pupils to hold up white boards so you can assess responses.Demonstrate correct marking on your sentence. Give out cards with words thatexemplify the ways of spelling long vowel a.
way came bake shape
complain stain rain play
same fête away sane
fail slay face great
ray blame brain aim
inflate they pray trail
weigh place grey rake
lake sail eight make
pain stay today explain
Ask pupils to work in pairs to sort these words into groups with common spellingpatterns. Then ask pupils for their observations (prompts include: What is the most likelyspelling at the end of words? (-ay). What is the most likely pattern in the middle? (-ai- andsplit digraph a-e). Which are the irregular spellings? (e.g. great, weigh, they.)
Lesson 2
Recap the main ways of spelling long vowel a. Ask pupils to work in pairs to generate thelongest list they can of words in each of those categories; ay, ai, a-e, others. Then getpupils to count words in each column - establish who has the longest list in eachcategory and get those pupils to read out their list. Correct any misconceptions.
Lesson 3
Remind pupils of investigations in Lessons 1 and 2. Distribute cards that contain wordswhich exemplify different ways of spelling long vowel i and long vowel e when followedby t phoneme.
beat fight light plight slight
beet fleet meat quite spitebite flight meet right sweet
bleat fright might seat tightbright heat mite sheet treatcheat height neat sight wheateat kite night site whitefeet knight peat sleet
Ask pupils to choose either the long i or the long e and to sort those words into commonspelling patterns. Then do the same again with the other long vowel. Then ask pupilshow they remember whether a word is spelled 'eat' or 'eet', 'ight' or 'ite'.
30 English transition units
31
GletaklikagiezRD
Lesson 4
Write up a short list of words that contain an unstressed and/or unpronounced vowele.g. history, easily, difference, January, business, interested, fattening, Wednesday,definitely, vegetable. Explain that all of these words have something in common whichmakes them tricky to spell. Ask pupils to work individually to identify the commondifficulty. Take suggestions and then identify the unstressed vowel in one or two of thewords. Model some strategies for remembering how to spell two of these words e.g.
syllabification of Wed-nes-day and building word from root as in fatten + ing. Then ask
pupils to work in pairs, firstly to identify the unstressed/unpronounced vowel in theremaining words and then to devise a strategy for remembering the spelling of thatword. Then take each word in turn and call on one of the pairs to give a strategy. Draw
out alternatives from other pairs.
Lesson 5
Distribute cards with words that have unstressed or unpronounced vowels ending in
ary, -ery, -en, -er and -erence.
conference desperate reference inference secretary
boundary flattery library wakening stationery
deafening January frightening primary voluntary
general difference literacy widening desperate
Ask pupils to sort words into common patterns. Take feedback and draw attention to thehigh number of words containing -er and -en patterns.
Lesson 6
Write up five words that start with c followed by each one of the five vowels, e.g. cat,celery, circle, coat, cupboard. Ask pupils individually to extend these lists adding asmany words as they can in each group. Ask pupils to discuss with a partner thedifferences in the initial phonemes. Is there a pattern? Take feedback establish that el
and ce usually soften the c. Teacher generates examples where soft c occurs other thanat the beginning of the word e.g. December. Then demonstrate soft c created by a
following y e.g. cylinder, fancy.
English transition units 31
3 9
My
Fat
her
is a
Pol
ar B
ear
`My
Fat
her
is a
Pol
ar B
ear'
by M
icha
el M
orpu
rgo
from
Her
eabo
ut H
ill,
publ
ishe
d by
Hei
nem
ann
Edu
catio
nal
My
Fat
her
is a
Pol
ar B
ear
My
Fath
er is
aPo
lar
Bea
r
Thi
s st
ory
is a
tiss
ue o
f tr
uth
mos
tly. A
s w
ith m
any
of
my
stor
ies,
I h
ave
wov
en tr
uths
toge
ther
and
mad
e fr
om
them
a tr
uth
stra
nger
than
fic
tion.
My
fath
er w
as a
pola
r be
arho
nest
ly.
Tra
ckin
g do
wn
a po
lar
bear
sho
uldn
't be
that
dif
ficu
lt.
You
just
fol
low
the
paw
prin
tsea
sy e
noug
h fo
r an
y
com
pete
nt I
nnui
t. M
y fa
ther
is a
pol
ar b
ear.
Now
if y
ou
had
a fa
ther
who
was
a p
olar
bea
r, y
ou'd
be
curi
ous,
wou
ldn'
t you
? Y
ou'd
go
look
ing
for
him
. Tha
t's w
hat I
did,
I w
ent l
ooki
ng f
or h
im, a
nd I
'm te
lling
you
he
was
n't a
t all
easy
to f
ind.
In a
way
I w
as lu
cky,
bec
ause
I a
lway
s ha
d tw
ofa
ther
s. I
had
a f
athe
r w
ho w
as th
ere
I ca
lled
him
Dou
glas
and
one
who
was
n't t
here
, the
one
I'd
nev
er
even
met
the
pola
r be
ar o
ne. Y
et in
a w
ay h
e w
asth
ere.
All
the
time
I w
as g
row
ing
up h
e w
as th
ere
2829
My
Fat
her
is a
Pol
ar B
ear
insi
de m
y he
ad. B
ut h
e w
asn'
t onl
y in
my
head
, he
was
at t
he b
otto
m o
f ou
r St
art-
Rite
sho
ebox
, our
sec
ret
trea
sure
box
, with
the
rubb
er b
ands
rou
nd it
, whi
ch I
kept
hid
den
at th
e bo
ttom
of
the
cupb
oard
in o
ur b
ed-
room
. So
how
, you
mig
ht a
sk, d
oes
a po
lar
bear
fit
into
a
shoe
box?
I'll
tell
you.
My
big
brot
her
Ter
ry f
irst
sho
wed
me
the
mag
azin
e
unde
r th
e be
dclo
thes
, by
torc
hlig
ht, i
n 19
48 w
hen
Iw
as f
ive
year
s ol
d. T
he m
agaz
ine
was
cal
led
The
atre
Wor
ld. I
cou
ldn'
t rea
d it
at th
e tim
e, b
ut h
e co
uld.
(H
e
was
two
year
s ol
der
than
me,
and
alr
eady
mad
abo
ut
actin
g an
d th
e th
eatr
e an
d al
l tha
t he
still
is.)
He
had
CA
)sa
ved
up a
ll hi
s po
cket
mon
ey to
buy
it. I
thou
ght h
ew
as c
razy
. 'A
shi
lling
! Y
ou c
an g
et a
bout
a h
undr
edle
mon
she
rbet
s fo
r th
at d
own
at th
e sh
op,'
I to
ld h
im.
Ter
ry ju
st ig
nore
d m
e an
d tu
rned
to p
age
twen
ty-
seve
n. H
e re
ad it
out
: 'T
he S
now
Que
en, a
dra
mat
som
ethi
ng o
r ot
her
of H
ans
And
erse
n's
fam
ous
stor
y,
by th
e Y
oung
Vic
com
pany
.' A
nd th
ere
was
a la
rge
blac
k an
d w
hite
pho
togr
aph
righ
t acr
oss
the
page
a
phot
ogra
ph o
f tw
o fi
erce
-loo
king
pol
ar b
ears
bar
ing
thei
r te
eth
and
abou
t to
eat t
wo
child
ren,
a b
oy a
nd a
girl
, who
look
ed v
ery
frig
hten
ed.
`Loo
k at
the
pola
r be
ars,
' sai
d T
erry
. 'Y
ou s
ee th
at
one
on th
e le
ft, t
he f
atte
r on
e? T
hat's
our
dad
, our
rea
l
dad.
It s
ays
his
nam
e an
d ev
eryt
hing
Pete
r V
an
28
My
Fat
her
is a
Pol
ar B
ear
Die
men
. But
you
're n
ot to
tell.
Not
Dou
glas
, not
eve
n
Mum
, pro
mis
e?'
`My
dad'
s a
pola
r be
ar?'
I s
aid.
As
you
can
imag
ine
I
was
a li
ttle
conf
used
.
`Pro
mis
e yo
u w
on't
tell,
' he
wen
t on,
'or
I'll g
ive
you
a C
hine
se b
urn.
'
Of
cour
se I
was
n't g
oing
to te
ll, C
hine
se b
urn
or n
o
Chi
nese
bur
n. I
was
har
dly
goin
g to
go
to s
choo
l the
next
day
and
tell
ever
yone
that
I h
ad a
pol
ar b
ear
for
a
fath
er, w
as I
! A
nd I
cer
tain
ly c
ould
n't t
ell m
y m
othe
r,
beca
use
I kn
ew s
he n
ever
like
d it
if I
eve
r as
ked
abou
t
my
real
fat
her.
She
alw
ays
insi
sted
that
Dou
glas
was
the
only
fat
her
I ha
d. I
kne
w h
e w
asn'
t, no
t rea
lly. S
odi
d sh
e, s
o di
d T
erry
, so
did
Dou
glas
. But
for
som
ere
ason
that
was
alw
ays
a co
mpl
ete
mys
tery
to m
e,ev
eryo
ne in
the
hous
e pr
eten
ded
that
he
was
.
Som
e ba
ckgr
ound
mig
ht b
e us
eful
her
e. I
was
bor
n,
I la
ter
foun
d ou
t, w
hen
my
fath
er w
as a
sol
dier
inB
aghd
ad d
urin
g th
e Se
cond
Wor
ld W
ar. (
You
did
n't
know
ther
e w
ere
pola
r be
ars
in B
aghd
ad, d
id y
ou?)
Som
etim
e af
ter
that
my
mot
her
met
and
fel
l in
love
with
a d
ashi
ng y
oung
off
icer
in th
e R
oyal
Mar
ines
calle
d D
ougl
as M
acle
ish.
All
this
tim
e, e
vacu
ated
to th
e
Lak
e D
istr
ict a
way
fro
m th
e bo
mbs
, blis
sful
ly u
naw
are
of th
e w
ar a
nd D
ougl
as, I
was
lear
ning
to w
alk
and
talk
and
do m
y bu
sine
ss in
the
righ
t pla
ce a
t the
rig
ht ti
me. 31
My
Fat
her
is a
Pol
ar B
ear
So m
y fa
ther
cam
e ho
me
from
the
war
to d
isco
ver
that
his
plac
e in
my
mot
her's
hea
rt h
ad b
een
take
n. H
e di
d
all h
e co
uld
to w
in h
er b
ack.
He
took
her
aw
ay o
n a
wee
k's
cycl
ing
holid
ay in
Suf
folk
to s
ee if
he
coul
dre
kind
le th
e lig
ht o
f th
eir
love
. But
it w
as h
opel
ess.
By
the
end
of th
e w
eek
they
had
com
e to
an
amic
able
arra
ngem
ent.
My
fath
er w
ould
sim
ply
disa
ppea
r,be
caus
e he
did
n't w
ant t
o 'g
et in
the
way
'. T
hey
wou
ld
get d
ivor
ced
quic
kly
and
quie
tly, s
o th
at T
erry
and
I
coul
d be
bro
ught
up
as a
new
fam
ily w
ith D
ougl
as a
s
our
fath
er. D
ougl
as w
ould
ado
pt u
s an
d gi
ve u
sM
acle
ish
as o
ur s
urna
me.
All
my
fath
er in
sist
ed u
pon
was
that
Ter
ry a
nd I
sho
uld
keep
Van
Die
men
as
our
mid
dle
nam
e. T
hat's
wha
t hap
pene
d. T
hey
divo
rced
.
My
fath
er d
isap
pear
ed, a
nd a
t the
age
of
thre
e I
beca
me
And
rew
Van
Die
men
Mac
leis
h. I
t was
a m
outh
ful t
hen
and
it's
a m
outh
ful n
ow.
So T
erry
and
I h
ad n
o ac
tual
mem
orie
s of
our
fat
her
wha
tsoe
ver.
I d
o ha
ve v
ague
rec
olle
ctio
ns o
f st
andi
ng o
n
a ra
ilway
bri
dge
som
ewhe
re n
ear
Ear
l's C
ourt
inL
ondo
n, w
here
we
lived
, with
Dou
glas
' sis
ter
Aun
t
Bet
ty, a
s I
cam
e to
kno
w h
erte
lling
us
that
we
had
a
bran
d ne
w f
athe
r w
ho'd
be
look
ing
afte
r us
fro
m n
ow
on. I
was
rea
lly n
ot th
at c
once
rned
, not
at t
he ti
me.
I
was
muc
h m
ore
inte
rest
ed in
the
trai
n th
at w
as c
huff
ing
alon
g un
der
the
brid
ge, w
reat
hing
us
in a
fog
of
smok
e.
My
Fat
her
is a
Pol
ar B
ear
My
firs
t fat
her,
my
real
fat
her,
my
mis
sing
fat
her,
beca
me
a ta
boo
pers
on, a
big
hus
h hu
sh ta
boo
pers
on
that
no
one
ever
men
tione
d, e
xcep
t for
Ter
ry a
nd m
e.
For
us h
e so
on b
ecam
e a
sort
of
secr
et p
hant
om f
athe
r.
We
used
to w
hisp
er a
bout
him
und
er th
e bl
anke
ts a
tni
ght.
Ter
ry w
ould
som
etim
es g
o sn
oopi
ng in
my
mot
her's
des
k an
d he
'd f
ind
thin
gs o
ut a
bout
him
. 'H
e's
an a
ctor
,' T
erry
told
me
one
nigh
t. 'O
ur d
ad's
an
acto
r,
just
like
Mum
is, j
ust l
ike
I'm g
oing
to b
e.'
It w
as o
nly
a co
uple
of
wee
ks la
ter
that
he
brou
ght
the
thea
tre
mag
azin
e ho
me.
Aft
er th
at w
e'd
take
it o
ut
agai
n an
d lo
ok a
t our
pol
ar b
ear
fath
er. I
t too
k so
me
time,
I r
emem
ber,
bef
ore
the
trut
h of
it d
awne
d on
me
I do
n't t
hink
Ter
ry c
an h
ave
expl
aine
d it
very
wel
l. If
he
had,
I'd
hav
e un
ders
tood
it m
uch
soon
er
I'm s
ure
I w
ould
. The
trut
h, o
f co
urse
as I
thin
k yo
u
mig
ht h
ave
gues
sed
by n
ow w
as th
at m
y fa
ther
was
both
an
acto
r an
d a
pola
r be
ar a
t one
and
the
sam
etim
e.
Dou
glas
wen
t out
to w
ork
a lo
t and
whe
n he
was
hom
e
he w
as a
bit
sile
nt, s
o w
e di
dn't
real
ly g
et to
kno
w h
im.
But
we
did
get t
o kn
ow A
unty
Bet
ty. A
unty
Bet
tysi
mpl
y ad
ored
us,
and
she
love
d gi
ving
us
trea
ts. S
he
wan
ted
to ta
ke u
s on
a s
peci
al C
hris
tmas
trea
t, sh
e sa
id.
Wou
ld w
e lik
e to
go
to th
e zo
o? W
ould
we
like
to g
o to
3233
My
Fat
her
is a
Pol
ar B
ear
the
pant
omim
e? T
here
was
Dic
k W
hitti
ngto
n or
Pus
s in
Boo
ts. W
e co
uld
choo
se w
hate
ver
we
liked
.
Qui
ck a
s a
flas
h, T
erry
sai
d, 'T
he S
now
Que
en. W
e
wan
t to
go to
The
Sno
w Q
ueen
'.
So th
ere
we
wer
e a
few
day
s la
ter,
Chr
istm
as E
ve
1948
, sitt
ing
in th
e st
alls
at a
mat
inee
per
form
ance
of
The
Sno
w Q
ueen
at t
he Y
oung
Vic
thea
tre,
wai
ting,
wai
t-
ing
for
the
mom
ent w
hen
the
pola
r be
ars
cam
e on
. We
didn
't ha
ve to
wai
t for
long
. Ter
ry n
udge
d m
e an
dpo
inte
d, b
ut I
kne
w a
lrea
dy w
hich
pol
ar b
ear
my
fath
er
had
to b
e. H
e w
as th
e be
st o
ne, t
he s
narl
iest
one
, the
grow
liest
one
, the
sca
ries
t one
. Whe
neve
r he
cam
e on
he r
eally
look
ed a
s if
he
was
goi
ng to
eat
som
eone
,an
yone
. He
look
ed m
ean
and
hung
ry a
nd s
avag
e, ju
st
the
way
a p
olar
bea
r sh
ould
look
.
I ha
ve n
o id
ea w
hats
oeve
r w
hat h
appe
ned
in T
he
Snow
Que
en. I
just
cou
ld n
ot ta
ke m
y ey
es o
ff m
y po
lar
bear
fat
her's
cur
ling
claw
s, h
is s
lave
ring
tong
ue, h
is
kille
r ey
es. M
y fa
ther
was
with
out d
oubt
the
fine
stpo
lar
bear
act
or th
e w
orld
had
eve
r se
en. W
hen
the
grea
t red
cur
tain
s cl
osed
at t
he e
nd a
nd o
pene
d ag
ain
for
the
acto
rs to
take
thei
r bo
ws,
I c
lapp
ed s
o ha
rd th
at
my
hand
s hu
rt. T
hree
mor
e cu
rtai
n ca
lls a
nd th
e cu
r-
tain
s st
ayed
clo
sed.
The
saf
ety
curt
ain
cam
e do
wn
and
my
fath
er w
as c
ut o
ff f
rom
me,
gon
e, g
one
for
ever
. I'd
neve
r se
e hi
m a
gain
.
:34
My
Fat
her
is a
Pol
ar B
ear
Ter
ry h
ad o
ther
idea
s. E
very
one
was
get
ting
up, b
ut
Ter
ry s
taye
d si
tting
. He
was
sta
ring
at t
he s
afet
y cu
rtai
n
as if
in s
ome
kind
of
tran
ce. '
I w
ant t
o m
eet t
he p
olar
bear
s,' h
e sa
id q
uiet
ly.
Aun
ty B
etty
laug
hed.
'The
y're
not
bea
rs, d
ear,
they
're a
ctor
s, ju
st a
ctor
s, p
eopl
e ac
ting.
And
you
can
't
mee
t the
m, i
t's n
ot a
llow
ed.'
`I w
ant t
o m
eet t
he p
olar
bea
rs,'
Ter
ry r
epea
ted.
So
did
I, o
f co
urse
, so
I jo
ined
in. '
Plea
se, A
unty
Bet
ty,'
I
plea
ded.
'Ple
ase.
'
`Don
't be
sill
y. Y
ou tw
o, y
ou d
o ge
t som
e si
llyno
tions
som
etim
es. H
ave
a C
hoc
Ice
inst
ead.
Get
you
r
coat
s on
now
.' So
we
each
got
a C
hoc
Ice.
But
that
was
n't t
he e
nd o
f it.
We
wer
e in
the
foye
r ca
ught
in th
e cr
ush
of th
ecr
owd
whe
n A
unty
Bet
ty s
udde
nly
notic
ed th
at T
erry
was
mis
sing
. She
wen
t loo
py. A
unty
Bet
ty a
lway
s w
ore
a fo
x st
ole,
hea
ds s
till a
ttach
ed, r
ound
her
sho
ulde
rs.
Tho
se p
oor
old
foxe
s lo
oked
eve
ry b
it as
pop
-eye
d an
d
fran
tic a
s sh
e di
d, a
s sh
e pl
unge
d th
roug
h th
e cr
owd,
drag
ging
me
alon
g be
hind
her
and
cal
ling
for
Ter
ry.
Gra
dual
ly th
e th
eatr
e em
ptie
d. S
till n
o T
erry
. The
re
was
qui
te a
to-d
o, I
can
tell
you.
Pol
icem
en w
ere
calle
d
in o
ff th
e st
reet
. All
the
prog
ram
me
selle
rs jo
ined
in th
e
sear
ch, e
very
one
did.
Of
cour
se, I
'd w
orke
d it
out.
Ikn
ew e
xact
ly w
here
Ter
ry h
ad g
one,
and
wha
t he
was 35
My
Fat
her
is a
Pol
ar B
ear
up to
. By
now
Aun
ty B
etty
was
sitt
ing
dow
n in
the
foye
r
and
sobb
ing
her
hear
t out
. The
n, c
ool a
s a
cucu
m-
ber,
Ter
ry a
ppea
red
from
now
here
, jus
t wan
dere
d in
to
the
foye
r. A
unty
Bet
ty c
rush
ed h
im to
her
, in
a gr
eat
hug.
The
n sh
e w
ent l
oopy
all
over
aga
in, t
ellin
g hi
m
wha
t a n
augh
ty, n
augh
ty b
oy h
e w
as, g
oing
off
like
that
.
`Whe
re w
ere
you?
Whe
re h
ave
you
been
?' s
he c
ried
.
`Yes
, you
ng m
an,'
said
one
of
the
polic
emen
. 'T
hat's
som
ethi
ng w
e'd
all l
ike
to k
now
as
wel
l.'
I re
mem
ber
to th
is d
ay e
xact
ly w
hat T
erry
sai
d, th
e
very
wor
ds: '
Jim
my
ridd
le. I
just
wen
t for
a ji
mm
yri
ddle
.' Fo
r ju
st a
mom
ent h
e ev
en h
ad m
e be
lievi
ng
him
. Wha
t an
acto
r! B
rilli
ant.
We
wer
e on
the
bus
hom
e, r
ight
at t
he f
ront
on
the
top
deck
whe
re y
ou c
an g
uide
the
bus
roun
d co
rner
s al
l
by y
ours
elf
all y
ou h
ave
to d
o is
ste
er h
ard
on th
ew
hite
bar
in f
ront
of
you.
Aun
ty B
etty
was
sitt
ing
aco
uple
of
row
s be
hind
us.
Ter
ry m
ade
quite
sur
e sh
e
was
n't l
ooki
ng. T
hen,
ver
y su
rrep
titio
usly
, he
took
som
ethi
ng o
ut f
rom
und
er h
is c
oat a
nd s
how
ed m
e.T
he p
rogr
amm
e. S
igne
d ri
ght a
cros
s it
wer
e th
ese
wor
ds, w
hich
Ter
ry r
ead
out t
o m
e:
`To
Ter
ry a
nd A
ndre
w,
With
love
fro
m y
our
pola
r be
ar f
athe
r Pe
te,:
Kee
p
happ
y'
My
Fat
her
is a
Pol
ar B
ear
Nig
ht a
fter
nig
ht I
ask
ed T
erry
abo
ut h
im, a
nd n
ight
afte
r ni
ght u
nder
the
blan
kets
he'
d te
ll m
e th
e st
ory
agai
n, a
bout
how
he'
d go
ne in
to th
e dr
essi
ng-r
oom
and
foun
d ou
r fa
ther
sitt
ing
ther
e in
his
pol
ar b
ear
cost
ume
with
his
hea
d of
f (i
f yo
u kn
ow w
hat I
mea
n), a
ll ho
tan
d sw
eaty
. Ter
ry s
aid
he h
ad a
ver
y ro
und,
ver
y sm
iley
face
, and
that
he
laug
hed
just
like
a b
ear
wou
ld la
ugh,
a so
rt o
f de
ep b
ello
w o
f a
laug
hw
hen
he'd
got
ove
r
the
surp
rise
that
is. T
erry
des
crib
ed h
im a
s lo
okin
g lik
e
`a g
iant
pix
ie in
a b
ears
kin'
.
For
ever
aft
erw
ards
I a
lway
s he
ld it
aga
inst
Ter
ry
that
he
neve
r to
ok m
e w
ith h
im th
at d
ay d
own
to th
e
dres
sing
-roo
m to
mee
t my
pola
r be
ar f
athe
r. I
was
so
envi
ous.
Ter
ry h
ad a
mem
ory
of h
im n
ow, a
rea
lm
emor
y. A
nd I
did
n't.
All
I ha
d w
ere
a fe
w w
ords
and
a si
gnat
ure
on a
thea
tre
prog
ram
me
from
som
eone
I'd
neve
r ev
en m
et, s
omeo
ne w
ho to
me
was
par
t pol
ar
bear
, par
t act
or, p
art p
ixie
not a
t all
easy
to p
ictu
re in
my
head
as
I gr
ew u
p.
Pict
ure
anot
her
Chr
istm
as E
ve f
ourt
een
year
s la
ter.
Ups
tair
s, s
till a
t the
bot
tom
of
my
cupb
oard
, my
pola
r
bear
fat
her
in th
e m
agaz
ine
in th
e St
art-
Rite
sho
ebox
;
and
with
him
all
our
accu
mul
ated
chi
ldho
od tr
easu
res:
the
sign
ed p
rogr
amm
e, a
bat
tere
d ch
ampi
on c
onke
r (a
sixt
y-fi
ver!
), s
ix s
ilver
bal
l-be
arin
gs, f
our
gree
nish
silv
er
thre
epen
ny b
its (
Chr
istm
as p
uddi
ng tr
easu
re tr
ove)
, a
3637
My
Fat
her
is a
Pol
ar B
ear
Red
Dev
il th
roat
pas
tille
tin
with
thre
e of
my
milk
teet
h
cush
ione
d in
yel
low
y co
tton
woo
l, an
d m
y co
llect
ion
of
twen
ty-s
even
cow
rie
shel
ls g
lean
ed o
ver
man
y su
mm
ers
from
the
beac
h on
Sam
son
in th
e Sc
illy
Isle
s. D
owns
tair
s,
the
who
le f
amily
wer
e ga
ther
ed in
the
sitti
ng-r
oom
: my
mot
her,
Dou
glas
, Ter
ry a
nd m
y tw
o si
ster
s (h
alf-
sist
ers
real
ly, b
ut o
f co
urse
no
one
ever
cal
led
them
that
),A
unty
Bet
ty, n
ow m
arri
ed, w
ith tw
in d
augh
ters
, my
cous
ins,
who
wer
e tr
uly
awfu
lI
prom
ise
you.
We
wer
e
deco
ratin
g th
e tr
ee, o
r ra
ther
the
twin
s w
ere
figh
ting
over
eve
ry s
ingl
e di
ngly
-dan
gly
glitt
er b
all,
ever
y st
rand
of ti
nsel
. I w
as tr
ying
to f
ix u
p th
e C
hris
tmas
tree
ligh
ts
whi
ch, o
f co
urse
, wou
ldn'
t wor
k ag
ain
whi
lst A
unty
Bet
ty w
as d
oing
her
bes
t to
aver
t a w
ar b
y br
ibin
g th
e
drea
dful
cou
sins
aw
ay f
rom
the
tree
with
a M
ars
bar
each
. It t
ook
a w
hile
, but
in th
e en
d sh
e go
t bot
h of
them
up
on to
her
lap,
and
soo
n th
ey w
ere
stuf
fing
them
selv
es c
onte
nted
ly w
ith M
ars
bars
. Ble
ssed
pea
ce.
Thi
s w
as th
e ve
ry f
irst
Chr
istm
as w
e ha
d ha
d th
e
tele
visi
on. G
iven
hal
f a
chan
ce w
e'd
have
had
it o
n al
l
the
time.
But
, wis
ely
enou
gh I
sup
pose
, Dou
glas
had
ratio
ned
us to
just
one
pro
gram
me
a da
y ov
erC
hris
tmas
. He
didn
't w
ant t
he C
hris
tmas
cel
ebra
tions
inte
rfer
ed w
ith b
y 'th
at th
ing
in th
e co
rner
', as
he
calle
d
it. B
y co
mm
on c
onse
nt, w
e ha
d ch
osen
the
Chr
istm
as
Eve
film
on
the
BB
C a
t fiv
e o'
cloc
k.
38
My
Fat
her
is a
Pol
ar B
ear
Five
o'c
lock
was
a v
ery
long
tim
e co
min
g th
at d
ay,
and
whe
n at
last
Dou
glas
got
up
and
turn
ed o
n th
e te
l-
evis
ion,
it s
eem
ed to
take
for
eve
r to
war
m u
p. T
hen,
ther
e it
was
on
the
scre
en: G
reat
Exp
ecta
tions
by
Cha
rles
Dic
kens
. The
hal
f-m
ende
d lig
hts
wer
e at
onc
e di
s-ca
rded
, the
dec
orat
ing
aban
done
d, a
s w
e al
l set
tled
dow
n to
wat
ch in
rap
t ant
icip
atio
n. M
aybe
you
kno
w
the
mom
ent:
You
ng P
ip is
mak
ing
his
way
thro
ugh
the
grav
eyar
d at
dus
k, m
ist s
wir
ling
arou
nd h
im, a
n ow
lsc
reec
hing
, gra
vest
ones
rea
ring
out
of
the
gloo
m,
bran
ches
like
gho
ulis
h fi
nger
s w
hipp
ing
at h
im a
s he
pass
es, r
each
ing
out t
o sn
atch
him
. He
mov
es th
roug
h
the
grav
eyar
d tim
orou
sly,
tent
ativ
ely,
like
a f
righ
tene
d
faw
n. E
very
sna
p of
a tw
ig, e
very
bar
king
fox
, eve
ry
aark
ing
hero
n se
nds
shiv
ers
into
our
ver
y so
uls.
Sudd
enly
, a f
ace!
A h
ideo
us f
ace,
a m
onst
rous
fac
e,
loom
s up
fro
m b
ehin
d a
grav
esto
ne. M
agw
itch,
the
esca
ped
conv
ict,
anci
ent,
crag
gy a
nd c
rook
ed, w
ith lo
ng
whi
te h
air
and
a st
ragg
ly b
eard
. A w
ild m
an w
ith w
ild
eyes
, the
eye
s of
a w
olf.
The
cou
sins
scr
eam
ed in
uni
son,
long
and
loud
,
whi
ch b
roke
the
tens
ion
for
all o
f us
and
mad
e us
laug
h. A
ll ex
cept
my
mot
her.
`Oh
my
God
,' sh
e br
eath
ed, g
rasp
ing
my
arm
.`T
hat's
you
r fa
ther
! It
's h
im. I
t's P
eter
.'
All
the
year
s of
pre
tenc
e, th
e w
hole
long
con
spir
acy 39
My
Fat
her
is a
Pol
ar B
ear
of s
ilenc
e w
ere
undo
ne in
that
one
mom
ent.
The
dram
a on
the
tele
visi
on p
aled
into
sud
den
insi
gnif
i-ca
nce.
The
hus
h in
the
room
was
pal
pabl
e.
Dou
glas
cou
ghed
. 'I
thin
k I'l
l fet
ch s
ome
mor
e lo
gs,'
he s
aid.
And
my
two
half
sis
ters
wen
t out
with
him
, in
solid
arity
I th
ink.
So
did
Aun
ty B
etty
and
the
twin
s;an
d th
at le
ft m
y m
othe
r, T
erry
and
me
alon
e to
geth
er.
I co
uld
not t
ake
my
eyes
off
the
scre
en. A
fter
aw
hile
I s
aid
to T
erry
, 'H
e do
esn'
t loo
k m
uch
like
a pi
xie
to m
e.'
`Doe
sn't
look
muc
h lik
e a
pola
r be
ar e
ither
,' T
erry
repl
ied.
At M
agw
itch'
s ev
ery
appe
aran
ce I
trie
d to
see
thro
ugh
his
mak
e-up
(I
just
hop
ed it
was
mak
e-up
!) to
disc
over
how
my
fath
er r
eally
look
ed. I
t was
impo
ssi-
ble.
My
pola
r be
ar f
athe
r, m
y pi
xie
fath
er h
ad b
ecom
e
my
conv
ict f
athe
r.
Unt
il th
e cr
edits
cam
e up
at t
he e
nd m
y m
othe
rne
ver
said
a w
ord.
The
n al
l she
sai
d w
as, '
Wel
l, th
e
pota
toes
won
't pe
el th
emse
lves
, and
I'v
e go
t the
bru
s-
sel s
prou
ts to
do
as w
ell.'
Chr
istm
as w
as a
ver
y su
bdue
d
affa
ir th
at y
ear,
I c
an te
ll yo
u.
The
y sa
y yo
u ca
n't p
ut a
gen
ie b
ack
in th
e bo
ttle.
Not
true
. No
on in
the
fam
ily e
ver
spok
e of
the
inci
-
dent
aft
erw
ards
exce
pt T
erry
and
me
of c
ours
e..
Eve
ryon
e be
have
d as
if it
had
nev
er h
appe
ned.
Eno
ugh
was
eno
ugh.
Ter
ry a
nd I
dec
ided
it w
as ti
me
to b
roac
h
My
Fat
her
is a
Pol
ar B
ear
the
who
le f
orbi
dden
sub
ject
with
our
mot
her,
in p
ri-
vate
. We
wai
ted
until
the
furo
re o
f C
hris
tmas
was
ove
r,
and
caug
ht h
er a
lone
in th
e ki
tche
n on
e ev
enin
g. W
e
aske
d he
r po
int b
lack
to te
ll us
abo
ut h
im, o
ur 'f
irst
'fa
ther
, our
'mis
sing
' fat
her.
`I d
on't
wan
t to
talk
abo
ut h
im,'
she
said
. She
wou
ldn'
t eve
n lo
ok a
t us.
'All
I kn
ow is
that
he
lives
som
ewhe
re in
Can
ada
now
. It w
as a
noth
er li
fe. I
was
anot
her
pers
on th
en. I
t's n
ot im
port
ant.'
We
trie
d to
pres
s he
r, b
ut th
at w
as a
ll sh
e w
ould
tell
us.
Soon
aft
er th
is I
bec
ame
very
bus
y w
ith m
y ow
nlif
e, a
nd f
or s
ome
year
s I
thou
ght v
ery
little
abo
ut m
y
conv
ict f
athe
r, m
y po
lar
bear
fat
her.
By
the
time
I w
as
thir
ty I
was
mar
ried
with
two
sons
, and
was
a te
ache
r
tryi
ng to
bec
ome
a w
rite
r, s
omet
hing
I h
ad n
ever
drea
mt I
cou
ld b
e.
Ter
ry h
ad b
ecom
e an
act
or, s
omet
hing
he
had
alw
ays
been
qui
te s
ure
he w
ould
be.
He
rang
me
very
late
one
nigh
t in
a hi
gh s
tate
of
exci
tem
ent.
'You
'll n
ever
gue
ss,'
he s
aid.
'He'
s he
re!
Pete
r! O
ur d
ad. H
e's
here
, in
Eng
land
.
He'
s pl
ayin
g in
Hen
ry I
T%
Par
t II
in C
hich
este
r. I
've
just
read
a r
ave
revi
ew. H
e's
Fals
taff
. Why
don
't w
e go
dow
n
ther
e an
d gi
ve h
im th
e su
rpri
se o
f hi
s lif
e?'
So w
e di
d. T
he n
ext w
eeke
nd w
e w
ent d
own
toC
hich
este
r to
geth
er. I
took
my
fam
ily w
ith m
e. I
wan
ted
them
to b
e th
ere
for
this
. He
was
a w
onde
rful
4041
My
Fat
her
is a
Pol
ar B
ear
Fals
taff
, big
and
boo
my,
rum
bust
uous
and
rau
nchy
, yet
full
of p
atho
s. M
y tw
o bo
ys (
ten
and
eigh
t) k
ept w
his-
peri
ng a
t me
ever
y tim
e he
cam
e on
. 'Is
that
him
? Is
that
him
?' A
fter
war
ds w
e w
ent r
ound
to s
ee h
im in
his
dres
sing
-roo
m. T
erry
sai
d I
shou
ld g
o in
fir
st, a
nd o
n
my
own.
'I h
ad m
y tu
rn a
long
tim
e ag
o, if
you
rem
em-
ber,
' he
said
. 'B
est i
f he
see
s ju
st o
ne o
f us
to s
tart
with
,
I re
ckon
.'
My
hear
t was
in m
y m
outh
. 1 h
ad to
take
a v
ery
deep
bre
ath
befo
re I
kno
cked
on
that
doo
r. 'E
nter
.' H
e
soun
ded
still
jovi
al, s
till F
alst
affi
an. I
wen
t in.
He
was
sitt
ing
at h
is d
ress
ing-
tabl
e in
his
ves
t and
brac
es, b
oots
and
bri
tche
s, a
nd h
umm
ing
to h
imse
lf a
s
he r
ubbe
d of
f hi
s m
ake-
up. W
e lo
oked
at e
ach
othe
r in
the
mir
ror.
He
stop
ped
hum
min
g, a
nd s
wiv
elle
d ro
und
to f
ace
me.
For
som
e m
omen
ts I
just
sto
od th
ere
look
-
ing
at h
im. T
hen
I sa
id, '
Wer
e yo
u a
pola
r be
ar o
nce,
a
long
tim
e ag
o in
Lon
don?
'
`Yes
.'
`And
wer
e yo
u on
ce th
e co
nvic
tin
Gre
at
Exp
ecta
tions
on
the
tele
visi
on?'
`Yes
.'
`The
n I
thin
k I'm
you
r so
n,' I
told
him
.
The
re w
as a
lot o
f hu
ggin
g in
his
dre
ssin
g-ro
om th
at
nigh
t, no
t eno
ugh
to m
ake
up f
or a
ll th
ose
mis
sing
year
s, m
aybe
. But
it w
as a
sta
rt.
4243
My
Fat
her
is a
Pol
ar B
ear
My
mot
her's
dea
d no
w, b
less
her
hea
rt, b
ut I
stil
l
have
two
fath
ers.
I g
et o
n w
ell e
noug
h w
ith D
ougl
as, I
alw
ays
have
don
e in
a d
etac
hed
sort
of
way
. He'
s do
ne
his
best
by
me,
I k
now
that
; but
in a
ll th
e ye
ars
I've
know
n hi
m h
e's
neve
r on
ce m
entio
ned
my
othe
rfa
ther
. It d
oesn
't m
atte
r no
w. I
t's h
isto
ry b
est l
eft
crus
ted
over
I th
ink.
We
see
my
pola
r be
ar f
athe
rI
still
thin
k of
him
as
that
ever
y ye
ar o
r so
, whe
neve
r he
's o
ver
from
Can
ada.
He'
s w
ell p
ast e
ight
y no
w, s
till a
ctin
g fo
r si
x
mon
ths
of e
very
yea
ra
real
trou
per.
My
child
ren
and
my
gran
dchi
ldre
n al
way
s ca
ll hi
m G
rand
pa B
ear
beca
use
of h
is g
reat
bus
hy b
eard
(th
e sa
me
one
he g
rew
for
Fals
taff
!), a
nd b
ecau
se th
ey a
ll kn
ow th
e st
ory
ofth
eir
gran
dfat
her,
I s
uppo
se.
Rec
ently
I w
rote
a s
tory
abo
ut a
pol
ar b
ear.
I c
an't
imag
ine
why
. He'
s up
stai
rs n
ow r
eadi
ng it
to m
y sm
all-
est g
rand
daug
hter
. I c
an h
ear
him
a-s
narl
ing
and
a-gr
owlin
g ju
st a
s pr
oper
pol
ar b
ears
to. T
akes
him
bac
k, I
shou
ld th
ink.
Tak
es m
e ba
ck, t
hat's
for
sur
e.
Journal entry by Year 6 pupil introductionof the characters, Kensuke and RoxanneThe character Kensuke appears so suddenly to the
narrator that it is a real surprise and we know, as readers,
that he will be an important character. However the
character of Roxanne does not make a dramatic
appearance; she is just there as if she is in the background
all the time, and not very important.
The author lets us know straight away what Kensuke's
feelings are by his use of the words 'agitated, trembling,
angry, shaking with fury', which have the effect of making
us feel quite nervous, wondering whether he will attack
Michael. Although we are told that Roxanne's grandfather
neglects her and beats her, we are not given any clues
about how she feels about him and the way he treats her,
adding to the sense of mystery around her.
Kensuke immediately begins shouting, trying to
communicate with Michael even though he doesn't speak
the same language. We know that he has something very
important to say to Michael because of the way he repeats
it over and over, and we can imagine how frightening it
must be to have someone shouting a foreign language at
you. Roxanne does not speak at all when she is first
introduced in the story, which again makes her rather
mysterious. In fact we begin to wonder why she is always
on her own, and whether perhaps she is unable to speak.
40 English transition units
41
Journal entry thoughts aboutKensuke's Kingdom and questions to askMichael Morpurgo
I wonder ifsomeonecould reallysurvive thatlong.
Favourite part whenKensuke and Michaelrescue the orang-utans.
I wantedKensuke to goback to Japanto look for hisfamily.
Why is thenarrator calledMichael like you?
How did you getthe idea ofsomeone livingon an island forso long?
42
Did you visit anytropical islands soyou could make itrealistic?
English transition units 41
Reso
Checklist for effective narrative writing
1 Opening/introducing characters2 Build-up/characterisation or setting3 Dilemma
4 Reaction/events5 Resolution/ending
1. Opening/introducing characters
Some possible options for opening a story 'to grab the reader':
Using dialogue, e.g. a warning given by one character to anotherAsking the reader a questionDescribing some strange behaviour of one of the characters
Using a dramatic exclamation (Help!) or dramatic event
Introducing something intriguing
Techniques for introducing characters
Using an interesting nameLimiting description on how the character feels, e.g. sad, lonely, angry or what they
are, e.g. bossy, shyRelying on portraying character through action and dialogueUsing powerful verbs to show how a character feels and behaves, e.g. muttered,
ambledGiving the thoughts and reactions of other charactersRevealing the characters' own thoughts and ideas
2. Build-up/creating setting
Making the characters do somethingUsing detail based on sense impressions what can be seen, heard, smelled
touched or tastedBasing settings on known places, plus some invented detailUsing real or invented names to bring places alive to help to make the setting more
real and more believableCreating atmosphere, e.g. what is hidden, what is dangerous, what looks unusual,
what is out of placeUsing the weather, time of day and season as well as placeLulling the reader into a false sense of security that all is well
3. Dilemma
Introducing a problemUsing 'empty' words, e.g. someone to create suspenseUsing short sentences to be dramaticStrengthening nouns and verbs rather than using adjectives and adverbsEmploying suspense words such as suddenly, without warning
42 English transition units 43
Drawing the reader in by asking a questionOccasionally breaking the sentence rule by using a fragment to emphasise a point,
e.g. Silence.Varying sentence openings by sometimes starting with:
an adverb, e.g. Carefully;a prepositional phrase, e.g. At the end of the street;a subordinate clause, e.g. Although she was tired, Vanya ... Swinging his stick in the
air, he ...
4. Reaction/events
Building on many of the techniques already used in the earlier part of the storyVarying sentence structure by using longer sentences to get a rhythm going todescribe the increasing tension as events unfoldUsing alliteration and short sentences to portray sounds within the actionUsing metaphor and simile to help paint the scene and describe the feelings of the
charactersIntroducing further complications using connecting words and phrases such asunfortunately ... and what he hadn't noticed was ...
5. Resolution and ending
Techniques for resolving the dilemma
Allowing help to arrive in an unexpected form, e.g. It was at that moment that ...
Making the character(s) do something unexpectedShowing that the problem/dilemma was only in the characters' minds and not realAllowing the character some extra effort to overcome the problemOnly resolving a part of the dilemma so the characters learn a lesson for the future
Possible options for closing a story
Making a comment about the resolutionUsing dialogue a comment from one of the charactersUsing a questionMaking a mysterious remarkTelling the reader to remember or do something
Showing how a character has changedUsing one word or an exclamationAvoiding clichés such as The end or They all lived happily ever after unless it is a
fabrication of a traditional storyReflecting on the events and perhaps providing a moralAllowing the main character to think aloudIntroducing an element of mystery, e.g. Vanya would never know how lucky she was
that ...
Looking to the futureRevisiting where the story began
44 English transition units 43
Timeline showing Andrew's growingknowledge about his real father
Before Andrewcan remember(p. 31)
Andrew bornduring WorldWar 2.
As a young child(pp. 30 and 34)
Terry finds and
buys a theatreprogramme whichshows their real
father.
Brothers see their
father as a polarbear in The Snow
Queen. Terry
meets him.
As a teenager
(P. 37)
Brothers see their
father as a convictin film Great
Expectationson N.
As an adult (p. 41)
Brothers see theirfather as Falstaff inHenry IV. Andrew
meets him.
1943
onwards
44 English transition units
1948
45
1962 1973 approx.
Ann
otat
ed e
xtra
ct fr
om 'M
y F
athe
r is
a P
olar
Bea
r'
Z)c
li be
rate
cho
ice
of v
ocab
ular
8 A
KA
SeA
ttlkL
L
CO
KS
tfUC
tiOK
iK tk
is p
ar-a
6rap
k to
su6
6est
the
pukt
,A
child
mig
ht ta
lk a
bout
the
euen
t
I-ki
s fo
rm o
f the
pas
t tea
se k
elps
the
read
erto
mim
a6ia
t the
eve
nts
AS
tkG
8 W
ere
happ
enin
g
tYU
6oeS
tS n
arra
tor
/aut
hor's
StY
0M6
tUA
iMiS
of p
ride,
7"
LUC
K b
efor
e, k
e ka
s S
alt t
he b
ear
`Use
of s
uper
lativ
es is
sui
tabl
8lo
m9u
a6e.
and
focu
ses
OK
the
pk9s
ical
App
eara
nce
of th
e be
ar,
Wki
ck is
all
ickt
kreC
A C
AK
exp
erie
nce
of h
is fa
tker
Info
rmal
lano
uit9
e is
coa
viat
ia,Il
s lik
e th
at o
t A
five
-dea
r- o
ld
&co
nk(
pers
on, p
rese
at te
nse
And
rea
listic
aR8
laa9
ua6e
, cre
ate
the
impr
essi
on fo
r re
ader
s th
at
We
are
thre
e O
K th
e bu
s, b
eing
sko
imt W
hat t
o do
b8
Aita
ffeo
'JJe
rou
shor
t inc
ompl
ete
SLA
tCK
LL to
cre
ate
dram
atic
impa
ct'.
'
r--
PAG
E 3
4So
ther
e ev
e w
ere
a fe
w d
ays
late
r, C
hris
tmas
Eve
1948
, sitt
ini)
in th
e st
alls
at a
mat
inee
per
form
ance
of
The -
Snow
Que
en a
t the
You
ng V
ic th
eatr
e, F
aitin
g, w
aitin
gsfo
rth
e m
omen
t whe
n th
e po
lar
bear
s co
me
on. W
e di
dn't
have
tow
ait f
or lo
ng. T
erry
nud
ged
me
and
poin
tedk
utilt
rioy
i!-a
rre-
at-f
y-)w
hich
pol
ar b
ear
my
fath
er h
ad to
be.
He
was
the.
--(b
est o
ne, t
hesF
Flie
st o
ne, t
he g
row
liest
one
, the
soa
ries
rion
e. W
hene
ver
he c
ame
onlie
rea
lly lo
okoc
jasi
f he
vis
'go
ing
to e
at k
ifeb
tiE,-
-iiiY
Ori
e)H
e lo
oked
- m
ean
andb
ungr
yan
d sa
vage
, jus
t the
way
a p
olar
be-a
r sh
ould
have
no
idea
wha
tsoe
ver
wha
t hap
pene
d in
The
iyno
Que
en. I
just
cou
ld_n
ot ta
ke m
y ey
e_so
ff m
y po
larb
eaf
fath
er's
C-u
----
rTin
ee-l
aws,
his
lave
ring
tong
o_e;
ffis
kill
er e
yes.
My
fath
er w
as w
ithou
t dou
bt th
e(fi
ne4o
lar
bear
act
or_.
....
[the
wor
ld h
ad e
ver
seen
nVIr
eigh
-e-i
i---
--ea
t ied
cur
tain
s cl
osed
at th
e en
d an
d op
ened
aga
in f
or th
e ac
tors
to ta
ke th
eir
boy"
,I
clap
ped
so h
ard
that
my.
hand
s hu
rt.:,
Thr
eem
ore
curt
ain
calls
and
the
curt
ains
sta
yed
clos
ed)T
hesa
fety
cur
tain
cam
e---
,do
wn
and
my
fath
er w
as c
ut o
ff f
rom
me
rko-
--n-
e- g
one
kit''
ever
. I'd
nev
er s
ee h
im a
gain
....)
Rep
eat o
f 'N
Aiti
K.6
' to
shop
') is
spA
titet
aof
the
bo8
---
PAG
E36
We
wer
e on
the
bus
hom
e, r
ight
at t
he f
ront
on
the
top
deck
whe
rgou
can
gui
de th
e bu
s ro
und
corn
ers
all
al y
otf-
----
71-T
h-ve
-Ta
-6.)
is s
teer
har
d on
the
whi
teba
t in
fron
t of
you.
Aun
t lle
tty w
as s
ittin
g a
."-o
uple
-Of
row
s be
hind
us. T
erry
mad
e qu
ite s
ure
she
was
n't)
look
ing:
T f
en, v
ery
surr
eptit
ious
ly, h
e to
ok s
omet
hing
out
fro
m u
nder
his
coa
tan
d sh
owed
mel
lbe
prog
ram
me)
Sign
ed r
ight
acr
oss
it w
ere
thes
e w
ords
-lw
hich
Ter
ry r
ead
out t
o m
e:T
o T
erry
and
And
rew
,W
ith lo
ve f
rom
you
r po
lar
bear
fat
her
Pete
r K
eep
happ
y'
V
Cho
ice
of s
ophi
stic
ated
adj
ectiv
es is
A S
i6aA
l tha
t the
KA
YV
At0
f/Attt
kOf i
s K
O)
YO
KLI
K17
CfiK
o th
e tu
ext A
s an
adul
t mig
ht
.--O
rKtA
l LA
M3U
M3C
., ra
ther
like
Mt A
KK
OK
KLL
MC
At,
su6s
ests
the
narr
ator
/aut
hor
still
feel
sgr
eat
prid
e
ia k
is fa
ther
's a
ctin
g
Cur
taile
d se
nten
ce '1
-ker
e pa
eri n
ot W
ritte
nco
uat
doku
a to
the
intu
itabl
e W
retc
h fr
om k
is fa
ther
'1Z
CA
V fi
t to
use
Of
lAK
VA
AS
e to
em
phas
ise
the
poN
erle
ssne
ss k
e fe
lt as
A c
hild
`Use
of
collo
quia
l 'co
uple
! in
stea
d o
f 'to
o'
CO
WL
YA
CtiO
K O
f 'W
AS
,tot
' to
MA
iKtA
iit M
Y O
f iat
imat
e
coas
pira
c8
IKU
CY
-SiO
K o
f usu
al S
eAtti
tCe.
con
stru
ctio
n is
mor
e
litLY
AY
8, A
nd A
dds
to th
e at
mos
pher
e of
dra
ma
AK
A
impo
rtan
ce
S3O
Hno
s3
RE
SO
UR
CE
S
Dem
o-w
rite
of n
otes
of a
rec
ount
and
a r
elat
ed n
arra
tive
Not
es o
f rec
ount
Abo
ut 5
at s
choo
l yet
? N
agge
d M
um to
be
allo
wed
to p
lay
with
her
dol
lpr
ecio
us, o
ld. D
ropp
ed it
head
cra
cked
ups
et.
Rel
ated
nar
rativ
e
-HiK
tiK6
At S
OK
ketk
iK6
intr
iyiK
6
'Pre
parin
g th
e. r
eade
r fo
r th
c
clia
tax
of tk
t St0
Y8
b8 K
tutti
otin
g
som
etki
a6 e
lse.
tkA
t is
crac
ka.
SIA
66es
tia6
A d
isas
ter
is w
aitin
g
to k
appe
rt
lave
xteA
det
ail A
dded
to k
o.ow
s
setti
ng
`ills
! Of N
ord
'saf
e ad
ds to
teA
siop
t
Akt
othe
x ki
itt th
at th
e do
ll oi
ll
Kot
sur
vive
tkis
tim
e.
)._o
a6e.
r se
atex
as to
get
a r
k8tIo
tA
6oiit
6 A
S te
a.si
ott i
ncre
ases
jvtis
lcad
s re
ader
s iK
to tk
iKki
K6
tht d
oll h
as b
rokc
a
Re-
tura
to s
t8le
, of s
poke
n
lafto
uaoe
., al
mos
t as
iftk
e
narr
ator
is tr
8i1k
6 to
exc
use.
tkcx
usel
uts
'Rep
eate
d ph
rase
tOY
C.S
plia
sis
Tha
t afte
rnoo
n I w
as s
o bo
red.
My
big
sist
er a
nd m
y be
st fr
iend
nex
t doo
r w
ere
both
at s
choo
l, bu
t I
was
at h
ome,
soo
t mus
t hav
e ha
ppen
ed/b
efor
e I w
as fi
ve. I
cou
ldn'
t fin
d an
ythi
ng to
do,
and
I w
as ly
ing
on th
e flo
or, w
ith m
y le
gs in
the
air,
the
way
littl
e ki
ds d
o. H
ave
you
notic
ed th
e w
ay th
ey d
o th
at, l
ittle
whe
n th
ey're
fed
up?
You
see
them
in s
hops
som
etim
es, a
nd th
ey'v
e ob
viou
sly
had
enou
gh o
f
shop
ping
, so
they
lie
dow
n in
the
mid
dle
of M
arks
and
Spe
ncer
's o
r w
hate
ver
and
wav
e th
eir
legs
arou
nd o
r st
art r
ollin
g ab
out,
until
thei
r m
um o
r da
d ge
ts c
ross
and
dra
gs th
em o
ff, lo
okin
g al
l tig
ht-
lippe
d-an
d st
ress
ed o
ut. I
don
't kn
ow if
my
mum
was
str
esse
d ou
t tha
t day
, or
just
fed
up w
ith m
e/
moa
ning
abo
afia
virt
g-no
tting
to d
o, b
ut th
en I
didn
't th
ink
muc
h ab
out w
hat s
he w
as fe
elin
g. Y
ou d
on't,
whe
n yo
u're
littl
e, y
ou o
nly
thin
k-at
out
your
self.
Any
way
, I w
as ly
ing
on th
e flo
or, s
tarin
g at
afo
ngcr
adfc
)in th
e ce
iling
and
won
derin
g ho
w it
got
ther
ean
dLf t
he c
eilin
g w
ould
fall
dow
n)w
hen
sudd
enly
I no
ticed
som
ethi
ng I
hadn
't se
en fo
ra lo
ng, l
ong
time:
my
mum
's o
ld d
oll.
She
17e
-PT
Edd
top
of a
cup
boag
beca
use
it w
as fr
agile
. Whe
n sh
e w
as y
oung
, the
re
was
n't a
ny p
last
ic, a
nd th
is d
oll's
hea
d w
as m
ade
of c
hina
. I c
an't
rem
embe
r w
hat t
he b
ody
was
mad
e
of, t
houg
h I'v
e se
en d
olls
like
it s
ince
, pre
serv
ed in
a g
lass
cas
e in
a m
useu
m. M
y m
um's
dol
l(oul
d ha
veen
ded
up in
a g
lass
cas
e in
a m
useu
m.
She
'd lo
oked
afte
r th
is d
oll f
or y
ears
and
yea
rs, b
ecau
se it
had
bee
n a
spec
ial p
rese
nt, v
ery
\N e
xpen
sive
, and
she
rea
lly lo
ved
it. E
ven
thou
gh s
he'd
gro
wn
up a
nd m
oved
hou
se c
ount
less
tim
es,
,she
'd s
till k
epth
erfa
your
itedo
lfsat
e)A
ll th
roug
h th
e w
ar, d
espi
te th
e ai
r ra
ids
and
the
bom
b_s_
that
----
----
--
_des
troy
ed th
e ho
use
next
to h
ers,
this
dol
l had
urvi
ved
inta
ctl b
egan
to. a
sk-h
er if
1-C
-oul
d pl
ay w
ith it
,su
ttexc
e to
add
impa
ct--
---
Sim
pte.
and
I wen
t on
and
on, t
he w
ay k
ids
do, a
ll w
hine
y an
d_pl
eadi
ng,-
Unt
il sh
e ga
ve in
and
took
the
doll
dow
n --
---
from
the
cupb
oard
for
me.
Now
be
dare
ly15
h;sa
id, "
`if y
ou d
rop
itit
will
bre
ak:,
(A b
ig h
ole)
The
re's
a b
ig h
ole
in m
y m
emor
y, b
ecau
se I
can'
t rer
nem
ber.
anyt
hing
abo
ut w
hat I
did
,
wha
t gam
e I p
laye
d w
ith th
e do
ll af
ter
she
gave
itto
rne.
-But
-rei
n re
mem
ber
how
the
gam
e en
ded,
and
I
wis
h I c
ould
n't4
he d
oll j
ust s
lippe
d to
the
floor
:Iwas
onl
y sm
all,
so it
can
't ha
ve fa
llen
far,
but
it w
as th
at
chin
a he
ad y
ou s
eeC
hina
sm
ashe
s ve
ry e
asily
. It c
rack
s, a
nd s
omet
imes
a p
art o
f it w
ill s
mas
h in
to_
----
--
hund
reds
of t
iny
piec
es, s
o th
ere'
s no
hop
e of
stic
king
it b
ack
toge
ther
, not
in a
mill
ion
year
s. A
nd th
at's
wha
t hap
pene
d) th
e do
ll's
face
cra
cked
, an
ugly
jagg
ed li
ne s
prea
d rig
ht a
cros
s he
r pr
etty
face
, and
a_-
(big
fiae)
appe
ared
in th
e ba
ck o
f her
hea
d. W
hene
ver
I thi
nk o
f it,
my
stom
ach
turn
s to
wat
er a
nd I
feel
sick
, jus
t lik
e I d
id th
at a
ftern
oon.
CO
N.U
CY
SA
tiOK
A(
toite
, Ach
ieve
d
ttlY
01A
6k u
se o
f iftt
OY
INA
, LU
GY
-80t
A8
lioi6
EA
A6G
. OV
eibl
Ar8
, NA
UK
AA
Ke.
euut
ts. e
mpk
asis
OK
aor
wa%
of
KA
ffeltO
Y's
bt4
tAtr
iOuf
, CY
GA
tiK6
A
tA(s
e. s
ense
. of S
ecur
it8 it
the
nalA
GY
J\la
rvA
tiut k
ook
Lois
poku
t phr
ase.
'if o
at.
.is
impl
ied,
add
ing
to
--""
the
read
er's
SU
Spi
cicu
t tha
t
soki
etki
a6 w
ill k
App
eA to
tkc
doll
Oal
j(jil
t Ot d
ialo
gue
tkex
efor
e
Jpar
ticul
arl6
si6
aific
akt.
BE
ST C
OPY
AV
AIL
AB
LE
Clim
ax-o
fst
orus
eof
AA
A' t
o
star
t the
se-
Ate
-Ka
CO
Ktfi
blA
ttS to
the
stas
e th
at tk
is w
as in
tuita
ble
Tex
tual
evi
denc
e in
two
diffe
rent
form
s
Pag
eD
ougl
asP
age
Rea
l fat
her
29"I
cal
led
him
Dou
glas
"29
" ...
in a
way
he
was
ther
e ...
insi
de m
y he
ad"
30"h
e w
as a
t the
bot
tom
... o
f our
sec
ret t
reas
ure
box"
31"a
das
hing
you
ng o
ffice
r ca
lled
Dou
glas
"
32"a
bra
nd n
ew fa
ther
... I
was
rea
lly n
ot th
at c
once
rned
"
33"h
e w
as a
bit
sile
nt, s
o w
e di
dn't
real
ly g
et to
kno
w h
im."
33"M
y fir
st fa
ther
, my
real
fath
er ..
. tab
oo p
erso
n"
34"M
y fa
ther
was
... h
ad e
ver
seen
."
37"h
e ha
d a
very
rou
nd, v
ery
smile
y fa
ce, a
nd ..
. he
laug
hed
... "
38"D
ougl
as h
ad r
atio
ned
us...
"
40"D
ougl
as c
ough
ed ..
. "
41-2
"a w
onde
rful
Fal
staf
f ..."
42"T
here
was
a lo
t of h
uggi
ng ..
. "
43"I
get
on
wel
l eno
ugh
with
Dou
glas
... i
n a
deta
ched
sor
t of w
ay."
43"H
e's
upst
airs
now
... a
-sna
rling
and
a-g
row
ling
... "
Not
rea
l dad
,ca
lls h
im D
ougl
asHan
dsom
e, d
ashi
ngA
ndre
w n
ot in
tere
sted
Sile
nt. U
nkno
wn.
Mea
n? (
Rat
ione
d us
)N
ot c
lose
Pre
ciou
s (t
reas
ure
box)
Rea
l or
imag
inar
y?
Sec
ret?
Nau
ghty
?
Hug
ging
Gre
at a
ctor
Sm
iley
happ
y la
ughi
ng
SO
H n
osA
H
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