Download Spy fiction lesson plans PILOT - Pearson Schools and FE Colleges

Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 2–3
Writing: AF1, AF2
Resources 1.1 (WEB), 1.2 (WS), 1.3 (WS), 1.4 (WS),
1.5 (INT), 1.6 (WS), 1.7 (WEB)
GCSE Assessment Objectives:
Writing: AO3ii Organise information and ideas into
structured and sequenced sentences, paragraphs
LESSON 1a: Going undercover
Learning objectives:
Learning outcomes:
Understand the key features of the spy fiction genre
and begin to consider how they engage the
reader
Collate prior knowledge of the spy fiction genre
Identify key ingredients of the spy fiction genre
Grammar focus: N/A (the opening lessons focus on building students’ awareness of the spy fiction genre; there
is no grammatical focus)
Introduction:
Teacher: Open Resource 1.1 (WEB), the teaser trailer from a James Bond film. Collate student knowledge of
James Bond films/stories: his character, typical plots, etc.
Outline the broad aims and final task of the unit: students will look at a range of texts from the spy fiction genre,
exploring its conventions and ways in which writers create effective plots and character, choosing language and
sentence structure to build tension and engage the reader. Students will plan their own spy story and write an
extract. Show students the jumbled words from Activity 1: in pairs, give students two minutes to work on
deciphering the codes.
Ask class to identify other characters/films from the spy genre, depicted in images on page 2 of the Student
Book.
Pairs: Discuss and complete response to Activity 2, noting prior knowledge of the characters in the images, and
using this to consider the necessary qualities of a successful spy. Students can note their responses on
Resource 1.2 (WS).
Whole class: Invite students to share feedback about ideas, building to a discussion of key similarities in the
pictured films’/stories’ characters, plots, etc. Aim to identify some of the key features of the spy genre. Ask
students to support ideas with examples from stories/films.
Development:
Teacher: Explain that you are going to develop your focus on the key features of the genre. Ensure students’
understanding of genre: the type of story/film, e.g. romance, adventure, horror, etc.
EITHER
Groups: Discuss and complete Activity 3, question 1, recording responses on Resource 1.3 (WS).
Whole class: Invite students to share feedback and discuss group responses to Activity 3, question 1. Ask
students to support and/or dispute their decisions, using examples from the genre.
OR
Whole class: Use Resource 1.5 (INT) to complete Activity 3, question 1 as a class, asking students to express a
range of views on each of the ingredients and to support and/or dispute each other’s views, using examples from
the genre.
Conclusion:
Individuals: Read the factfile on Fritz Joubert Duquesne on page 3 of the Student Book.
Whole class: Discuss Activity 3, question 2, noting the ingredients/features that would make this the basis of an
engaging spy story. Ask students to compare and connect these features with their response to Activity 3,
question 1.
Discuss why/how these features appeal to readers/audiences.
Homework/ActiveLearn:
Students imagine the perfect spy/hero of a spy story, writing a factfile modelled on the Duquesne factfile from
page 3 of the Student Book. Resource 1.6 (WS) features the Duquesne factfile and offers supporting prompts.
Alternatively, ask students to use the internet to research the stories of other real-life spies, using one as the
basis for their factfile.
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Support:
Challenge:
Collate students’ prior knowledge of the spy genre on
the board before asking the whole class to identify
common features.
Explore what MI6 is looking for in a spy at Resource
1.7 (WEB). In what ways does reality match the
conventions of the spy fiction genre? How has
the writer tried to dispel some preconceptions
based on these conventions?
When taking feedback on Activity 2, question 2, use this
as an opportunity to build weaker students’
vocabulary by creating a class list of the key
qualities of a spy.
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Select mixed ability groups to support weaker students.
Research other real-life spies, e.g. Richard Sorge,
Eddie Chapman, and note points from their lives
that might prompt ideas for effective spy fiction.
Weaker students might have a more limited awareness
of the genre’s conventions. A reduced version of
Activity 3, question 1 is available on Resource 1.4
(WS).
Consider how better writers recognise the
conventions of genre but sometimes exploit the
breaking of those conventions. How might the
conventions of the spy genre be broken?
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 4–5
Writing: AF3
Resources 1.8 (PP), 1.9 (INT), 1.10 (WS), 1.11 (WS),
1.12 (PP), 1.13 (PP), 1.14 (PP), 1.15 (PP), 1.16
(WEB), 1.17 (WEB), 1.18 (WS), 1.19 (WS)
Reading: AF4
GCSE Assessment Objectives:
Writing: AO3ii Organise information and ideas into
structured and sequenced sentences, paragraphs
LESSON 1b: Going undercover
Learning objectives:
Learning outcomes:
● Understand how writers use narrative structure to
engage the reader
● Plot own spy story using four-part narrative
structure
● Understand how to use narrative structure to plan a
story
Grammar focus: N/A (the opening lessons focus on building students’ awareness of the spy fiction genre; there
is no grammatical focus)
Introduction:
Teacher: Explain that in this lesson you will be looking at a typical story structure and using it to plot an original
spy story.
Whole class: Display Resource 1.8 (PP), slide 2, or Resource 1.9 (INT) showing the four key stages in a typical
narrative – in the spy or any other genre. Students have two minutes to consider the most effective order in
which to place them. Screen 2 of Resource 1.9 (INT) asks students to apply their understanding of narrative
structure to the example of the Little Red Riding Hood story.
Teacher: Take feedback, asking students to explain their decisions using the terms exposition, conflict, climax
and resolution to reinforce their learning. The correct (i.e. chronological) answer is on slide 3 of Resource 1.8
(PP).
Development:
Pairs: Complete Activity 4, question 1. Students can record their responses on Resource 1.11 (WS).
Teacher: Take feedback to ensure understanding/completion. Suggested answers are available on Resource
1.12 (PP).
Pairs: Complete Activity 4, question 2.
Teacher: Take feedback, collating ideas on the board for reference in the next activity. Explain to students they
are going to complete Activity 5, planning their own spy story, using the four-part narrative structure. Draw
students’ attention to What do better writers do? on page 5 of the Student Book, emphasising the need to
consider the effect on the reader, aim for originality in their plot and keep the reader guessing. Suggestions of
possible effects of texts on readers are available on Resource 1.15 (PP) – which of these will students aim for?
Open Resource 1.16 (WEB) and/or 1.17 (WEB) and play the video(s) of an author talking about story-planning
tips.
Individuals: Complete Activity 5. Students can record their ideas on Resource 1.18 (WS). Encourage students to
share, discuss and develop their ideas with a partner.
Pairs: Complete Check your writing tasks, annotating and self- or peer-assessing plots. The assessment criteria
are available on Resource 1.19 (WS).
Conclusion:
Whole class: Share volunteers’ story plans and discuss whether they fit the conventions of the spy genre. Would
they engage a reader? Why?
Homework/ActiveLearn:
Students reconsider and refine their story plots based on partner and/or whole-class feedback, focusing in
particular on the conflict and climax of their story. How could they be made more interesting, imaginative, exciting
and engaging for the reader?
Support:
Challenge:
A cut-and-shuffle version of the starter activity is
Encourage further exploration of comparisons and
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available on Resource 1.10 (WS).
any apparent contrasts in Activity 4, question 2,
using Resource 1.14 (PP).
Slides 4–8 of Resource 1.8 (PP) include a simple
example of the Exposition – Conflict – Climax –
Resolution structure using a fairy tale as an
example.
● Encourage avoiding more derivative plots and
focus on developing original ideas, perhaps
breaking some of the genre conventions.
To support students with Activity 4, question 1, use
Resource 1.13 (PP) to model the narrative
structure of Moonraker.
● Encourage non-chronological plotting, e.g. starting
with conflict or climax before ‘flashing back’ to the
exposition.
Having used Resource 1.13 (PP), students may wish to
focus on one of the remaining texts rather than
both.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 6–7
Reading: AF5, AF6
Resources 2.1 (INT), 2.2 (PP), 2.3 (PP), 2.4 (INT), 2.5
(PP), 2.6 (PP), 2.7 (WS), 2.8 (PP), 2.9 (PP)
Writing: AF7
GCSE Assessment Objectives:
Writing: AO3i Selecting vocabulary appropriate to task
and purpose in ways that engage the reader
LESSON 2: Grabbing your reader
Learning objectives:
Learning outcomes:
● Understand that writers use the opening of their
story to grab the reader’s interest
● Explore the use/effect of pronouns and noun
phrases in an opening extract
● Understand how writers can use pronouns and
noun phrases to achieve this
● Write own opening extract focusing on pronouns
and noun phrases
Grammar focus:
Pronouns are words that substitute for a noun or noun phrase: for example, ‘She came out of the mist and he
was running.’ In this lesson, students explore the role pronouns can play in deliberately withholding information
from the reader. For more information on pronouns see
http://www.cybergrammar.co.uk/word_classes_pronouns.php
A noun is sometimes defined as a word that names an object, idea, person, place, etc. Nouns can also be
considered as words that can be the subject or object of a sentence, can be pluralised and can be at the head of
a noun phrase. For more information about nouns see http://www.cybergrammar.co.uk/word_classes_nouns.php
A noun phrase is a group of words (which might include determiners, adverbs, adjectives, prepositional
phrases, non-finite or relative clauses) with a noun at its head. A noun phrase can consist of one word or several:
for example, ‘But here she was, coming for him like a mythical exterminating angel, indestructible and
implacable.’ For more information on noun phrases see
http://www.cybergrammar.co.uk/word_classes_nouns_advanced.php
Introduction:
Whole class: Recap narrative structure of Exposition, Conflict, Climax, Resolution, using either the linking lines
activity on Resource 2.1 (INT), or the quiz on Resource 2.2 (PP).
Pairs: Discuss powerful openings to stories students have read and what made them effective/memorable. What
effect should the opening of an effective story have on the reader?
Whole class: Invite feedback and discuss which effect is the most important. Look in particular for answers that
suggest the importance of grabbing the reader’s interest – and why.
Development:
Pairs: Read the extract from The Bourne Imperative on page 6 of the Student Book. Discuss and note ideas in
response to Activity 1.
Whole class: Share feedback and discuss. Look for answers that suggest the reader’s interest is gained through
powerful description and intrigue at the identity/relationship of the characters.
Teacher: How has the writer hidden the identity of the characters? Look for answers that recognise the use of
pronouns to withhold information. Display Resource 2.3 (PP) to reinforce/refresh students’ understanding of
pronouns and how they can substitute for nouns.
Whole class: Students identify pronouns in the extract on page 6 of the student book using Resource 2.4 (INT)
or alternatively using the highlighting functionality within the ActiveTeach on page 6. The extract and answers are
also available on Resource 2.5 (PP). Read the first part of Writer’s workshop: Grabbing the reader’s interest on
page 7, focusing on pronouns. Discuss the first question, using Resource 2.6 (PP) to read aloud and explore
three different versions of the extract, also available on Resource 2.7 (WS). What is the effect of each version?
Note that pronouns can be used to avoid repetition of nouns, but can also be used to withhold information from,
and intrigue, the reader.
Teacher: Ask students to look again at the full extract in the Student Book, identifying words and phrases that
describe the setting. Explain that the writer has used noun phrases to paint this picture for the reader. Use
Resource 2.8 (PP) to support and develop understanding of noun phrases. Note the use of adjectives and
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additional descriptive language in the extract to expand some noun phrases
Whole class: Discuss the second question in the Writer’s workshop. How effective is the description of setting in
the extract?
Teacher: Introduce Activity 2. Discuss and note on the board possible reader responses that writers might hope
to achieve, e.g. engagement, intrigue, etc.
Individuals: Complete Activity 2.
Conclusion:
Whole class: Volunteers share their writing and the effect they hope it will have on the reader. Discuss how
effective each writer’s use of pronouns and noun phrases is in achieving the intended effect.
Homework/ActiveLearn:
Students should complete ActiveLearn exercises Pronouns and Noun phrases. They provide additional
examples of pronouns and noun phrases in use and challenge students to identify pronouns and noun phrases
and think about effects created. In both cases, Activities 1–3 will be particularly useful in providing additional
reinforcement for weaker writers.
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Support:
Challenge:
Display one or both of the writing stimulus images on
Resource 2.9 (PP) and ask students to contribute
further nouns/adjectives/descriptive phrases to
support writing.
● Encourage focused vocabulary choice in crafting
an engaging opening using expanded noun
phrases to build descriptive detail and dynamic
verbs to create pace and excitement.
● Encourage weaker writers to share their writing
orally with a partner and exchange supportive
comments focusing on use/effect of descriptive
noun phrases and pronouns.
● What other techniques can writers use to withhold
information and create intrigue/mystery around
characters? For example, use of unspecific
common or proper nouns (‘the woman’, ‘the
American’, etc.).
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 8–11
Reading: AF5, AF6
Resources 3.1 (PP), 3.2 (INT), 3.3 (PP), 3.4 (INT), 3.5
(PP), 3.6 (WS), 3.7 (WS), 3.8 (PP), 3.9 (WS)
Writing: AF4, AF7
GCSE Assessment Objectives:
Writing: AO3i Selecting vocabulary appropriate to task
and purpose
Writing: AO3ii Organise information and ideas into
structured and sequenced sentences, paragraphs
LESSON 3: Pace and threat
Learning objectives:
Learning outcomes:
● Understand how writers use paragraphing and verb
choice to create a sense of pace and threat
● Explore use/effect of paragraphing and verb choice
in extract
● Write a short extract focusing on paragraphing and
verb choice
Grammar focus:
Verbs are frequently described as ‘doing words’ but can describe much more than ‘actions’, including incidents
(‘Something happened‘), situations (‘He was late’), and states of being (‘I felt angry’). All sentences (except
minor sentences) contain at least one finite verb, a verb that inflects, or changes ending, to indicate person,
number and tense. For more information on verbs see
http://www.cybergrammar.co.uk/word_classes_verbs.php#
Introduction:
Teacher: Use Resource 3.1 (PP) to introduce the terms ‘pace’ and ‘threat’, discussing their synonyms to explore
their meaning in the context of this unit. Resource 3.2 (INT) can also be used for this purpose.
Pairs: Students discuss and note their responses to the questions on slide 3 of Resource 3.1 (PP).
Whole class: Feedback and discuss responses, looking for answers that recognise the impact of pace and threat
on readers (excitement and engagement) and the importance of sentence/paragraph structure in creating pace
and language choice in emphasising threat.
Development:
Whole class: Read the extract on pages 8–9 of the Student Book, then ask volunteers to summarise, to check
and ensure understanding.
Individuals/Pairs: Discuss and complete Activity 1.
Whole class: Share feedback and discuss, focusing in particular on answers to question 2b. Look for responses
that acknowledge language/verb choice in building the impact of these threats on the reader.
Use the first question in the Writer’s workshop on page 10 of the Student Book and/or Resource 3.3 (PP) to
confirm understanding of verbs and identify examples in the extract. Use the Writer’s workshop question or
Resource 3.4 (INT) to explore how verb choices impact on meaning and effect. The ‘correct’ answers to this
activity are the words chosen by the writer of this extract, but are open to interpretation and students should be
encouraged to argue in support of any ‘wrong’ answers if they feel strongly that an alternative verb choice has a
specific effect that improves the writing.
Use Resource 3.5 (PP) to confirm understanding of paragraphs. Discuss the question in the Writer’s workshop
on page 10: how can paragraphs be used to create pace in a narrative? Resource 3.5 (PP) can be used to
explore further paragraphing choices (no paragraphing, every sentence in its own paragraph, the original) and
their effect/impact on the reader.
Teacher: Introduce and discuss Activity 2 on page 11 of the Student Book. Ask volunteers to share ideas,
suggesting possible situations on which to focus.
Individuals: Complete Activity 2, question 1.
Pairs: Complete Activity 2, question 2, sharing and collating appropriate vocabulary ideas.
Individuals: Complete writing task.
Pairs: Review and comment on a partner’s writing. Some prompt suggestions to guide comments are available
on Resource 3.8 (PP).
Conclusion:
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Pairs: Complete the Check your writing task on page 11 of the Student Book, annotating and self- or peerassessing. The assessment criteria are available on Resource 3.9 (WS). Display the example of a self-assessed
paragraph as a guide to how students might annotate their own writing. You can also zoom in on this on page 11
using the ActiveTeach.
Whole class: Volunteers share their writing, reading aloud to the class. In each piece, focus on one particularly
effective verb or paragraphing choice. What effect does it have?
Homework/ActiveLearn:
Students should complete ActiveLearn exercises Paragraphing and Verb choice. They provide additional
examples of verbs and paragraphs in use and challenge students to identify verb and paragraphing choices and
think about effects created. In both cases, Activities 1–3 will be particularly useful in providing additional
reinforcement for weaker writers.
Alternatively, you may want to ask students to complete the independent writing ActiveLearn exercise Creating a
sense of tension and threat. This gives students an opportunity to revise key learning from the lesson,
implement it within their own writing, and then self-assess, comparing it against a piece of exemplar writing.
Support:
Challenge:
● In Activity 1, weaker writers will particularly benefit
from the modelling provided in PowerPoint 3.3, to
illustrate the impact of careful verb choice on the
tone of a text.
Display Resource 3.6 (WS) and take suggestions on
how to revise paragraphing in the extract for
effect, e.g. one-sentence paragraphs, combining
paragraphs for increased pace, etc. Implement
this within the Word file and discuss the effects.
● In Activity 2, encourage discussion of the extract
outline with a partner. Is it an effective choice? Will it
allow the writer to create a sense of pace and
threat?
Use Resource 3.7 (WS) to support and develop weaker
writers’ vocabulary choices in Activity 2. Collating
suggestions as a whole class will provide further
support.
● Model and/or jointly compose an opening sentence
or two as a whole class.
● Limit focus to verb choice in the writing task.
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● Like the Young Bond extract, focus on twin threats
in the writing activity.
● Encourage students to consider and note a range
of alternatives for some verb choices – and
explain their final decision in terms of effect.
● Students could also experiment with making
different choices to create different effects. For
example, how would the verb choice differ if the
writer were trying to create a sense of calm and
serenity?
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 12–15
Writing: AF1, AF2
Resources 4.1 (INT), 4.2 (WEB), 4.3 (WS), 4.4 (INT),
4.5 (WS), 4.6 (WEB), 4.7 (PP), 4.8 (WS)
Reading: AF2, AF3
GCSE Assessment Objectives:
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms
LESSON 4: Your voice
Learning objectives:
Learning outcomes:
● Understand what is meant by narrative viewpoint
● Experiment with changing a text’s narrative
viewpoint
● Understand the impact that the writer’s choice of
narrative viewpoint can have on a text
● Write a short extract from a range of narrative
viewpoints
Grammar focus:
Narrative viewpoint is the point of view from which a story is told: it could be told in the first person (‘I’, ‘me’,
‘we’, etc.) by a character in the story, or in the third person (‘he’, ‘she’, ‘they’, etc.) by a narrator who takes no
immediate part in the story. Better writers are able to manipulate viewpoint deliberately.
Introduction:
Whole class: Display Resource 4.1 (INT). Ask volunteers to choose options from dropdown menus to tell this
story in first person, then third person. Use this activity to gauge students’ familiarity with 1 st and 3rd person and
ability to maintain consistency.
Open Resource 4.2 (WEB) and watch the Stormbreaker film trailer. Ask volunteers to identify key features of the
spy genre and remind the class of the plot summary (which they worked on in Lesson 1b) to recap Exposition–
Conflict–Climax–Resolution and introduce the upcoming extract.
Development:
Whole class: Read the full extract on page 12 of the Student Book.
Pairs/Individuals: Complete Activity 1. Students can record their responses on Resource 4.3 (WS).
Whole class: Invite feedback and discuss. Point out that we learn most about Alex because, although written in
the third person, the narrator is telling the story from Alex’s perspective – and because it’s not simply factual
detail: we learn about his thoughts and feelings via the third-person narrative. Also question the purpose of the
rhetorical question in the extract: to frame a character’s internal dilemma/thoughts/feelings.
Whole class: Display Resource 4.4 (INT). Discuss and sort the advantages and disadvantages, the
consequences and impact of choosing first- or third-person narrative on a story.
Teacher: Summarise the advantages/disadvantages with a brief discussion of the bulleted points in the Writer’s
workshop question ‘How do I choose?’ on page 14 of the Student Book.
Pairs: Complete Activity 2, focusing on discussion of the effect of changing narrative viewpoint. Students can
record their responses and ‘overwrite’ the extracts on Resource 4.5 (WS).
Teacher: Open Resource 4.6 (WEB) and play the extract from the Bond film Goldfinger. First explain that Bond
has been caught by supervillain, multimillionaire Auric Goldfinger. Explain that the film was based on Ian
Fleming’s novel and that students are now going to turn it back into prose. Emphasise that students should focus
on the short exchange between Bond and Goldfinger in the script extract, not the additional material in the film
clip.
Groups: Complete Activity 3 in groups of three, each student completing one of tasks 1–3, and task 4 as a group.
Conclusion:
Whole class: Compare groups’ decisions in their response to Activity 3, question 4 – first or third person; Bond’s
or Goldfinger’s viewpoint – and the reason for it. Summarise any key thoughts on the impact of the writer’s
choice of narrative viewpoint, e.g. empathy, tension, engagement, etc.
Homework/ActiveLearn:
Complete the task on Resource 4.8 (WS), which asks students to revisit their writing from Lesson 2 Activity 2
and rework it using a different narrative viewpoint.
Alternatively, students should complete ActiveLearn exercise Viewpoint, which provides additional practice in
identifying first- and third-person writing, and changing viewpoint from first to third, and third to first person.
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Activities 1–4 will be particularly useful in providing additional reinforcement for weaker writers.
Support:
Challenge:
● Begin Activity 1, question 1, as a whole class or in a
supported group for weaker readers.
● Consider the paragraph in italics in the extract.
Why is it italicised? Whose voice is this? Perhaps
it suggests the voice of Yassen, ringing in Alex’s
head. What impact/effect is intended, on Alex and
on the reader?
● Revisit/consolidate paragraphing from Lesson 3 by
focusing on the effect of two short paragraphs in the
extract before concentrating on viewpoint.
● Complete Activity 2 as a whole class, or model the
first two or three sentences before students
complete in pairs.
Before tackling the writing task in Activity 3, discuss and
note how Bond and Goldfinger might be feeling at
this point in the story, gathering an appropriate and
relevant range of vocabulary. Some key prompts
are available on Resource 4.7 (PP).
● Challenge students to include a similar change of
voice/viewpoint in their writing in Activity 3.
● In Activity 3, encourage students to focus in their
writing not only on narrative viewpoint, but on
other elements explored so far in the unit:
pronouns, noun phrases, verbs and paragraphing.
● In the drafting/redrafting writing task in Activity 3,
encourage students to focus on and peer-assess for
consistency of first- or third-person voice.
10
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 16–18
Writing: AF5, AF7
Resources 5.1 (PP), 5.2 (WS), 5.3 (PP), 5.4 (WS), 5.5
(PP), 5.6 (PP), 5.7 (WEB), 5.8 (WS), 5.9 (WS)
Reading: AF5
GCSE Assessment Objectives:
Writing: AO3i Selecting vocabulary appropriate to task
and purpose in ways that engage the reader
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect
LESSON 5: Building character description
Learning objectives:
Learning outcomes:
● Understand how to write vivid descriptions by
expanding noun phrases using adjectives, adverbs
and prepositional phrases
● Explore how a writer creates a character
description
● Write a description of a villain using expanded
noun phrases
Grammar focus:
A noun phrase is a group of words with a noun at its head. An expanded noun phrase is a phrase in which the
noun is either pre-modified or post-modified with adjectives, adverbs, prepositional phrases, etc.: for example, ‘a
large man with heavy, broad shoulders’. For more information on noun phrases see
http://www.cybergrammar.co.uk/word_classes_nouns_advanced.php
Adjectives modify nouns: for example, ‘the cunning spy’, ‘the uncrackable code’. For more information on
adjectives see http://www.cybergrammar.co.uk/word_classes_adjectives.php
Adverbs can modify verbs (‘He fell quickly’), adjectives (‘enormously cunning’) or other adverbs
(‘unbelievably quickly’). For more information on adverbs see
http://www.cybergrammar.co.uk/word_classes_adverbs.php
Prepositional phrases are phrases headed with a preposition (e.g. ‘by’, ‘from’, ‘with’, ‘under’, etc). They can be
used to post-modify nouns: for example, ‘The man with the eye patch watched his every move.’ For more
information on prepositions and prepositional phrases see
http://www.cybergrammar.co.uk/word_classes_prepositions.php
Introduction:
Teacher: Display Resource 5.1 (PP). Focus on precision of vocabulary choice. Explain/discuss the modelled
examples of vocabulary gathering and choice on slides 1–5. Ask students to suggest their own ideas orally.
Pairs: Complete the task on slide 7, gathering and selecting vocabulary to complete a descriptive sentence.
Students can use Resource 5.2 (WS) to record their responses.
Whole class: Share feedback and discuss the impact of effective vocabulary choices.
Development:
Teacher: Return to Resource 5.1 (PP), slide 5. Ask students to identify the nouns in the modelled descriptive
sentence (‘eyes’, ‘eyebrows’). Note that ‘eyes’ is the noun at the head of this noun phrase – the adjectives and
adverb pre-modify it; the prepositional phrase post-modifies it. Explain that you are going to explore how
expanded noun phrases can be used to build description.
Whole class: Read the extract on page 16 of the Student Book. Discuss briefly first impressions of this character,
perhaps identifying one or two key features that suggest this impression.
Pairs/Individuals: Complete Activity 1. Students can record their responses on Resource 5.4 (WS).
Whole class: Invite feedback and discuss. Focus on how description of appearance and action can show the
reader much more about character than the narrator simply telling the reader factual detail about him. Make
clear the difference between showing and telling – and the greater effectiveness of the former in fiction.
Whole class: Display the Writer’s workshop questions from page 17 of the Student Book at the front of the class
and read them through, or use Resource 5.5 (PP) for a more active presentation of the same examples and
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11
explanations. Further support on prepositional phrases, if needed, is available on Resource 5.6 (PP).
Teacher: Open Resource 5.7 (WEB) to watch a video of an author’s tips on describing character and setting.
Individuals/Pairs: Complete the planning in Activity 2, question 1 individually. Discuss/reconsider with a partner:
will these details create the desired impression? Could the vocabulary choice be more fully developed?
Complete question 2 individually. Students can record their ideas and writing on Resource 5.8 (WS).
Pairs: Complete the Check your writing task from page 18 of the Student Book, using either self- or peerassessment. Encourage discussion of each writer’s choices and their impact/effect, then redraft based on that
discussion. Students can complete their responses on Resource 5.9 (WS).
Conclusion:
Whole class: Volunteers share their writing with the class. Ask the class to comment on the impression each
draft has given them of this villain and/or to guess the intended effect. Compare the class impression with the
writer’s intended effect, noted in Activity 2, question 1.
Homework/ActiveLearn:
Students should complete ActiveLearn exercise Expanded noun phrases. This provides additional examples of
expanded noun phrases in use and challenges students to identify key features. Activities 1–3 will be particularly
useful in providing additional reinforcement for weaker writers.
Support:
Use Resource 5.3 (PP) to focus on how expanded noun
phrases can be built.
● Complete Activity 1 as a whole class, or begin with
modelling/whole class discussion before students
continue in pairs or individually.
● In Activity 2, gather and note ideas for possible
villainous traits from the whole class, then model
planning and writing one exemplar idea/sentence
based on volunteers’ suggestions before students
complete the activity individually or in pairs.
● In Activity 2, create a class list of possible
descriptive words and details, to support students
with a weaker range of vocabulary.
12
Challenge:
● Push for full inferential detail in Activity 1. For
example, ‘heavy shoulders’ suggests strength
which, in turn, implies a violent /dangerous
disposition.
● Focus on precision of vocabulary choice,
encouraging students to gather a selection of
possible synonyms for key choices.
● Encourage economy of language, e.g. would a
more precise verb carry the same meaning as the
current verb + adverb? Similarly, could a more
precise noun effectively replace the current
adjective + noun?
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 19–21
Writing: AF1, AF5, AF6, AF7
Resources A1.1 (INT), A1.2 (PP), A1.3 (WS), A1.4
(WS), A1.5 (PP), A1.6 (WS), A1.7 (WS)
GCSE Assessment Objectives:
All AOs
ASSESSMENT 1: Spies and villains
Learning objectives:
Learning outcomes:
● Understand how to write a short story extract using
a range of features for effect
● Write a short story extract focusing on key learning
so far
Grammar focus:
Pronouns (see lesson 2)
Verbs (see lesson 3)
Narrative viewpoint (see lesson 4)
Expanded noun phrases (see lesson 5)
Introduction:
Whole class: Display Resource A1.1 (INT), matching key terminology with examples.
Teacher: Explain that good writers have to make choices and decisions throughout the writing process and that
students’ understanding of the grammatical/lexical features explored so far in this unit will support them as they
make decisions about their writing. Briefly introduce the task: write a brief extract from a short spy story in which
the hero encounters the villain. Emphasise the absolute importance of planning. Revisit Resource 1.16 (WEB) to
remind students of an author’s story-planning tips.
Development:
Individuals: Plan story extract using the key prompts. These are also available on Resource A1.2 (PP), which
will encourage students to focus on each question/slide one at a time, and allow a cycle of discussion, response
and feedback for further discussion before moving on to the next question/slide. Students can record their
responses/planning on Resource A1.3 (WS).
Teacher: Recap/remind students of the language skills they have gathered in the unit so far and encourage their
use.
Individuals: Complete the writing task.
Teacher: Explain the importance of evaluation in achieving a productive second draft. Display Resource A1.5
(PP) and look closely at the exemplar self-assessment comment, identifying its strengths. Leave this on display
while students complete their evaluation.
Individuals: Complete the Reflect tasks, to the end of question 2c. Students can record their responses on
Resource A1.6 (WS).
Pairs: Read a partner’s writing and discuss their response to the Reflect tasks.
Individuals: Redraft writing based on self- and peer-evaluation. Each student then decides which level they have
achieved in each of the categories listed on Resource A1.7 (WS) (narrative viewpoint, paragraphing and
vocabulary choice as well as an overall level).
Conclusion:
Whole class: Volunteers (or peer evaluator’s with the writer’s permission) share extracts from the writing task.
Encourage supportive comments on effect, achievement, originality, etc.
Homework/ActiveLearn:
Produce a final draft of writing for display.
Alternatively, you may want to ask students to complete the independent writing ActiveLearn exercise Creating
atmosphere with narrative viewpoint and description. This gives students an opportunity to revise key
learning from the lesson, implement it within their own writing, and then self-assess, comparing it against a piece
of exemplar writing.
Support:
Use Resource A1.4 (WS) to create whole-class, shared
or individual word banks for students to draw on in
their writing.
Challenge:
● Encourage detailed annotation of writer’s choices
and their effect.
● Encourage intentional breaking of conventions to
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13
● Limit breadth of planning focus and
grammatical/language features to consider
incorporating in writing.
14
achieve originality rather than parody.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student book pages 22–25
Writing: AF5, AF7
Resources 6.1 (INT), 6.2 (WS), 6.3 (PP), 6.4 (PP), 6.5
(INT)
GCSE Assessment Objectives:
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms in ways that
engage the reader
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect
LESSON 6: Building description
Learning objectives:
Learning outcomes:
● Understand how to develop simple sentences in
order to add interesting and vivid detail to a
narrative
● Experiment with language choice and sentence
structure to create different effects
Grammar focus:
Verbs (see lesson 3)
Nouns / adjectives / adverbials / prepositional phrases (see lesson 5)
Simple sentences consist of one main clause and one finite verb, e.g. ‘The man spoke in English, softly, in a
rasping voice.’ Note that the term ‘simple’ refers to sentence structure, not content: simple sentences can be
lengthy and contain a wealth of developed detail and description. For more on simple sentences, see
http://www.cybergrammar.co.uk/sentences_types.php
Introduction:
Teacher: Open and complete Resource 6.1 (INT) with the class in order to review and revise key terminology
(noun, verb, adjective, pronoun, adverb, determiner, prepositional phrase and adverbial).
Point out that all the sentences in the activity are simple sentences (‘The man with the red hair disappeared’, ‘He
disappeared completely’ and ‘Smith blinked in disbelief’). Ask the class to define a) a sentence b) a simple
sentence. Look for answers that recognise that a sentence is a unit of complete meaning although it may require
context to make absolute sense. Point out that leading grammarians struggle for an all-encompassing definition
of a sentence. Aim to dispel the misconception that simple sentences are short and their language level low.
Emphasise that the term ‘simple’ actually refers to sentence structure: one main clause, one verb.
Development:
Whole class: Read the extract from Devil May Care on page 22 of the Student Book. Discuss broad first
impressions of the two characters in the extract.
Pairs: Discuss and complete Activity 1. Resource 6.2 (WS) can be provided to support this activity if necessary.
Whole class: Invite feedback and discuss Activity 1, trying to narrow down impressions based on sentences to
phrases, and from phrases to specific words. Use Resource 6.3 (PP) to model and emphasise the impact that a
writer’s language choice can have on the reader.
Whole class: Read through the Writer’s workshop on page 24 of the Student Book or use Resource 6.4 (PP) for
a more active presentation of the same examples and explanations. This resource highlights the different parts of
the expanded noun phrase in the exemplar sentence (‘A short figure in an army greatcoat came into the sodium
light’), recapping expanded noun phrases from lesson 5.
EITHER (more able writers)
Pairs/Individuals: Complete Activity 2, question 1 on page 25 of the Student Book, experimenting with a range of
choices and discussing their impact /effect.
OR (weaker writers)
Whole class: Display Resource 6.5 (INT) in which Activity 2, question 1 can be completed with a range of
language choices provided. Focus on discussion of the effect each choice has.
Whole class: Discuss Activity 2, question 2a. You might want to use the ActiveTeach to zoom in on the newly
structured sentence (‘Into the sodium light, in an army greatcoat, came a short figure.’). What effect has the
restructuring had? Look for answers that recognise that delaying the subject of the sentence to the end increases
tension and drama. Why, then, did the writer decide not to? Validate as wide a range of responses as possible.
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15
Pairs: Complete Activity 2, question 2b.
Conclusion:
Whole class: Volunteers feedback their restructured sentences for discussion. Focus on the effect of language
choice and the impact of restructuring. Can we draw any general conclusions about the effect of different
structures? For example, delaying the subject to the end of the sentence can create tension and dram and frontending the subject gives it emphasis.
Homework/ActiveLearn:
Students should complete one or both of the following:

ActiveLearn exercise Developing simple sentences. This provides additional examples of simple
sentences, reinforcing awareness of the range of descriptive choices and providing opportunities to consider
their effect. Activities 1–3 will be particularly useful in providing additional reinforcement for weaker writers.

Activity 3 on page 25 of the Student Book, bearing in mind the modelling done in class.
Support:
Challenge:
● Selected words and phrases to support Activity 1
are available on Resource 6.2 (WS).
● Encourage precision of inference in Activity 1,
identifying specific language choices and their
effect.
● Replace Activity 2, question 1 with Resource 6.5
(INT).
● Model reading students’ rewritten/restructured
sentences in a range of voices to emphasise effect
– and encourage students to read their own
sentences aloud to a partner and discuss effect.
● Homework: Focus students’ attention on the
ActiveLearn exercise in order to revise and
consolidate learning.
16
● In Activity 2, ask students to produce a range of
rewritten and restructured sentences achieving a
range of effects. How small a change can produce
the greatest impact?
● Homework: Focus students’ efforts on completing
Activity 3 to start putting their learning into effect
through an extended piece of writing.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student book pages 26–27
Writing: AF5
Resources 7.1 (WS), 7.2 (PP), 7.3 (PP), 7.4 (INT), 7.5
(PP), 7.6 (PP), 7.7 (WS)
GCSE Assessment Objectives:
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms appropriate to
task and purpose
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect
LESSON 7: Building sentences
Learning objectives:
Learning outcomes:
● Understand how to use conjunctions and clauses to
make your meaning clear
● Explore and experiment with coordinate and
subordinate clauses
● Write a short story extract using a range of simple
sentences, coordinate and subordinate clauses
Grammar focus:
Coordinate clauses: When two or more main clauses of equal importance are coordinated by a coordinating
conjunction, e.g. ‘and’, ‘but’, ‘or’, they operate as coordinate clauses. For example, in the sentence ‘She rang
him but there was no answer’, there are two coordinate clauses (‘She rang him’ and ‘there was no answer’)
joined by the coordinating conjunction ‘but’.
Subordinate clause: When one clause is secondary to, and dependent for its sense on, a main clause, it
operates as a subordinate clause. For example, in the sentence ‘She always rang him if she needed help’, there
is one main clause (‘She always rang him’) and one subordinate clause (‘if she needed help’). The subordinate
clause does not make sense without the main clause. Subordinate clauses are formed using subordinating
conjunctions, such as ‘because’, ‘if’, ‘although’, ‘until’, or using relative pronouns, such as ‘that’, ‘which’, ‘who’.
For more information on coordinate and subordinate clauses see:
http://www.cybergrammar.co.uk/sentences_clauses.php
Introduction:
Whole class: Read the two extracts from Activity 1 on page 26 of the Student Book aloud.
Pairs: Complete Activity 1, reading the extracts aloud and comparing them. Students can record their responses
on Resource 7.1 (WS).
Whole class: Invite feedback and discuss. Look for responses that recognise that several consecutive simple
sentences – though sometimes effective – can make writing sound stilted and monotonous; they also make it
more difficult to understand the relationships and connections between actions/events; and the rewritten version
repeatedly begins sentences with a pronoun, which soon becomes tedious.
Teacher: What is the difference between the two versions? Look for responses that recognise the use of
subordinate clauses in the original, even if the metalanguage of ‘subordinate clause’ is not explicitly used.
Students may pick up on the words 'sticking’ (non-finite verb in the first sentence) and/or ‘as’ (in the second
sentence).
Development:
Whole class: Display Resource 7.2 (PP), taking suggestions from the whole class to complete the activities on
slides 5 (inserting their own coordinate clauses) and 11 (inserting their own main and subordinate clauses).
Some students may identify these sentences as compound (use of a coordinating conjunction) and/or complex
(use of a subordinating conjunction). Although this terminology is not used in this unit, you may still find it helpful
to use these terms.
Point out that many coordinating conjunctions – such as ‘and’, ‘but’ – can also be used as prepositions (‘He
searched everywhere but under the bed.’) or as simple conjunctions (‘He looked in the cupboards and the
drawers.’) Both of these examples are simple sentences. In other words, the presence of one of these
conjunctions does not necessarily indicate the use of coordinate clauses (or a compound sentence).
Whole class: Read through the Writer’s workshop, or use Resource 7.3 (PP) for a more active presentation of
the same examples and explanations. Focus on the role of coordinating and subordinating conjunctions on slide
6 (asking students to think about the effect of the use of coordinating conjunctions) and slide 10 (asking students
about the effect of the use of subordinating conjunctions). Clarify the relationship between the use of
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17
conjunctions and making meaning clear for the reader. Further whole class or group support in developing
coordinate and subordinate clauses is available on Resource 7.4 (INT). Students need to select the sentence
that uses the conjunction that is best at making the meaning clear for the reader.
Whole class/Pairs: Complete Activity 2, question 1. Display Resource 7.5 (PP), which provides a more graphic
representation of sentence restructuring and gives a further example. Look for answers to questions a, b and c
that recognise that most main/subordinate clauses can be swapped around, but meaning of coordinate clauses
in sentences is constrained by either choice of conjunction or chronological order and therefore cannot be
swapped.
Whole class: Discuss Activity 2, question 2. If students completed Activity 3 on page 25, ask them to develop
their writing further. If they did not, discuss a range of possible story ideas that lead on from the extract on pages
22-23 of the student book.
Individuals/Pairs: Complete Activity 2, question 2 using Resource 7.6 (PP) to set the task. You may wish to use
Resource 7.7 (WS), asking students to build up a vocabulary bank before they start writing or you could provide
them with the word bank at the end of Resource 7.6 (PP) from the start. Point out that words on the word bank
do not have to be used purely as the class in which they appear, e.g. adjectives can be turned into adverbs
(‘swift’ to ‘swiftly’), etc.
Conclusion:
Whole class: Volunteers share examples of simple sentences and those using coordinate/subordinate clauses
they have included in their writing. Feedback and discuss the impact of sentence/conjunction/language choice in
each case.
Homework/ActiveLearn:
Students should complete ActiveLearn exercises Coordinate clauses and Subordinate clauses. These provide
additional examples reinforcing awareness of possible sentence structures and conjunctions. Activities 1–3 will
be particularly useful in providing additional reinforcement for weaker writers.
Support:
Challenge:
● Students work in pairs to develop story ideas for
Activity 2 as well as a word bank, recording words
on Resource 7.7 (WS). They can be supported with
Resource 7.6 (PP).
● In Activity 2, ask students to include more
coordinate/subordinate clauses in their writing
(rather than just simple sentences) and
experiment further with swapping clauses to
assess effect.
● Narrow the range of coordinating and subordinating
conjunctions they use to link ideas, e.g. they should
choose one or two from each box on Resource 7.6
(PP) and try to use them in some of their sentences
along with the words they have chosen previously.
18
● Ask students to create a version of their writing
that uses simple sentences only and pass it to a
partner to develop using coordinating and
subordinating conjunctions. They can then
compare the ways in which they have used
coordinating and subordinating conjunctions to
develop the writing in two different ways.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student book pages 28–31
Writing: AF5
Resources 8.1 (PP), 8.2 (PP), 8.3 (INT), 8.4 (PP), 8.5
(PP), 8.6 (WS)
GCSE Assessment Objectives:
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms appropriate to
task and purpose
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect
LESSON 8: Playing with sentences
Learning objectives:
Learning outcomes:
● Understand how sentences can be structured to
create emphasis, pace, tension and drama
● Write a short story extract, considering a range of
sentence types and structures for effect
● Self- or peer-assess confidence in using a range of
sentence types and structures for effect
Grammar focus:
Subordinate and coordinate clauses (see lesson 7)
Introduction:
Whole class: Display Resource 8.1 (PP). Imagine the scene: you are being interrogated by this man. Either
orally, or in writing, students combine clauses using the coordinating or subordinating conjunctions provided or
any others they wish to use. Take feedback on suggestions: do they make sense? Do they use coordinating or
subordinating conjunctions? Are they effective? Could they be restructured for more dramatic effect (creating a
sense of the atmosphere in the room)? Aim to refresh/recap understanding of subordinate/coordinate clauses
and conjunctions.
Development:
Pairs/whole class: Discuss and complete Activity 1, or work as a whole class using the modelling available on
Resource 8.2 (PP). You can also use Resource 8.3 (INT) to swap round the clauses and encourage students to
come to a decision on what effect each order has. Aim to draw some early conclusions about the structuring of
sentences, among which might be:

tension can be created by delaying key information until the end of a sentence

key information can be emphasised by placing it at the front of a sentence.
Whole class: Read the extract from Activity 2 aloud. You may want to zoom in on the extract using the
ActiveTeach. Point out that this extract follows on from the extract explored in the previous two lessons.
Individuals/pairs: Discuss and complete Activity 2.
Teacher: Take feedback. Look for answers that recognise that coordinate clauses linked with ‘and’ can suggest a
fast-moving sequence of events and create pace/tension, and short sentences can give emphasis and create
drama/impact.
Whole class: Read through the Writer’s workshop, or use Resource 8.4 (PP) for a more active presentation of
the same examples and explanations.
Whole class: Discuss Activity 3.
Pairs: Discuss and note possible focus/details to include in the writing task, using the prompts and images
provided in the Student Book if required. You can use the zoom feature on the ActiveTeach in order to look more
closely at these.
Whole class: Take feedback to share and validate as wide a range of ideas about the possible focus and
features of the writing as possible. Collate these at the front of the class to help support weaker writers.
Individuals: Complete Activity 3, perhaps allowing 10–15 minutes. Word banks are available on Resource 8.5
(PP), or students could use Resource 8.6 (WS) to gather their own words – or both. Point out that words in the
word bank do not have to be used purely as the class in which they appear, e.g. adjectives can be turned into
adverbs (‘impatient’/‘impatiently’), etc.
Pairs: Students swap their writing and complete the Check your writing tasks, annotating their partner’s writing
and peer-assessing the extracts using the criteria in the table in the Student Book. You can display the
assessment criteria at the front of the class using the ActiveTeach zoom function on page 31.
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19
Conclusion:
Whole class: Volunteers share their comments on their partner’s writing. Invite feedback and discuss broad effect
while each volunteer explains how it has been created with specific sentence lengths and structures.
Homework/ActiveLearn:
Students should complete ActiveLearn exercise Sentences for effect. These provide additional examples
reinforcing awareness of possible sentence structures and their potential impact on a reader. Activities 1–3 will
be particularly useful in providing additional reinforcement for weaker writers.
Support:
Challenge:
● Complete Activity 2 as a whole class or in a
supported group. You can use the ActiveTeach tool
to annotate the extract at the front of the class.
● In Activity 2, push students to identify a range of
sentence structures/lengths and comment on their
effect. Stress that you will use their answers to
discuss with the whole class.
● Limit the focus of the Activity 3 writing task to
including a short sentence for dramatic impact, and
use of coordinate clauses to create pace. The
collation of ideas at the front of the class before
students start writing, as well as the word bank
provided on Resource 8.5 (PP) should also support
weaker writers.
20
● Encourage students to come up with their own
word bank using Resource 8.6 (WS). They should
aim for originality in character, setting and
language choice in the Activity 3 writing task.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Resources 9.1 (PP), 9.2 (PP), 9.3 (INT), 9.4 (PP), 9.5
(PP), 9.6a (INT), 9.6b (INT), 9.7 (INT), 9.8 (PP), 9.9
(WS)
Writing: AF5
GCSE Assessment Objectives:
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms appropriate to
task and purpose
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect
LESSON 9: Breaking the rules
Learning objectives:
Learning outcomes:
● Understand what is meant by a minor sentence
● Write a short extract using the present tense and
minor sentences for effect
● Understand how to use minor sentences for effect
Grammar focus:
Minor sentences: Also known as irregular sentences, these do not contain a finite verb. They may contain no
verb at all, or a non-finite verb. For more information on minor or irregular sentences, see
http://www.cybergrammar.co.uk/sentences_types.php
Non-finite verbs: A finite verb is one that indicates tense, person or number. Non-finite verbs do not change or
inflect to indicate tense, person or number, i.e. either present participles (‘going’, ‘living’), past participles (‘gone’,
‘lived’) or infinitives (‘to go’, ‘to live’). For example, to shift this sentence ‘He chased him, thundering down the
street like a train’ into the present tense, the main finite verb ‘chased’ would become ‘chases’ but the non-finite
‘thundering’ would not alter: ‘He chases him, thundering down the street like a train.’ For more information on
non-finite verbs, see http://www.cybergrammar.co.uk/word_classes_verbs.php
Introduction:
Pairs: Ask students to write a definition of a sentence. Explain that almost every definition of a sentence is
incomplete and has exceptions! The aim should be to communicate what they understand by a sentence.
Whole class: Display Resource 9.1 (PP). Which of the examples on slide 2 are sentences? Ask volunteers to
share their definitions and test them against the examples. Aim for the definition that a sentence must:

make sense

follow punctuation rules (capital letter, full stop/question mark/exclamation mark) and

often, but not always, has a main or finite verb.
Point out that some examples on Resource 9.1 (PP) do not have a main verb yet we would still consider these
to be sentences. Instead, they contain no verb (sentence 3) or a non-finite verb (sentence 5, i.e. ‘playing’).
In contrast, sentence 1 is not a grammatically acceptable sentence because the words are in the wrong order.
You would expect the adverb to come after the object or before the verb, even if it made semantic sense, i.e.
Your dog eats dog food frequently, or Your dog frequently eats dog food, but not Your dog eats frequently dog
food. Sentence 6 is grammatically accurate but, semantically, does not make sense and therefore probably does
not fulfil the role of a sentence. However, the aim of the activity is to debate and come up with a ‘class definition’
of a sentence – there is no watertight definition and it is not set in stone!
Development:
Whole class: Read the extract in Activity 1. You can use the ActiveTeach to zoom in on this. What is the mood or
atmosphere of this novel opening? Look for responses that acknowledge the creation of tension and suspense.
Display Resource 9.2 (PP) in which a shorter extract can be seen in two different versions: one in the present
tense, one in the past. Read both aloud. Which tense creates more tension? Why? Look for responses that
suggest the present tense can create immediacy, as though events are unfolding ‘live’ as the reader reads.
Pairs: Complete Activity 1, question 2.
Whole class: Take feedback. Answers are available on Resource 9.4 (PP). Explain that these rule-breaking
sentences are called minor or irregular sentences. Read through the Writer’s workshop, or use Resource 9.5
(PP) for a more active presentation of the same examples and explanations.
Whole class: Complete Resource 9.6a (INT) and Resource 9.6b (INT) for further reinforcement of finite and
non-finite verbs and minor sentences. Note that the two adjectives in the minor sentence ‘Exhausted and frozen’
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21
are both non-finite verbs being used adjectivally. Resource 9.7 (INT) will help students to understand what
makes a minor sentence. They should experiment with the effect of adding minor sentences in different places
throughout the extract. They should be encouraged to argue the case for their preferred choice of where minor
sentences should be used, referencing the effect their choices will have on the reader.
Whole class: Discuss possible approaches to Activity 2. Visual stimuli are available on Resource 9.8 (PP) or you
can go to page 31 in the ActiveTeach (in the previous lesson) and zoom in on the photos there.
Individuals: Plan a response to Activity 2, bearing in mind both the effect of minor sentences and the effect of
tense. Prompts and further vocabulary support are available on Resource 9.9 (WS). Complete Activity 2.
Remind students that better writers do not overload their writing with minor sentences and use the same tense
consistently throughout a piece of writing. However, point out that memories/flashbacks may be in the past tense
while the ‘action’ in the extract should be consistently in the present tense.
Conclusion:
Whole class: Volunteers share their writing with the class. Take feedback focusing on the impact and effect of
minor sentences.
Homework/ActiveLearn:
Students should complete ActiveLearn exercises Non-finite verbs and Minor sentences. These provide
additional examples reinforcing understanding, and the possible impact of minor sentences on a reader. In both
cases, Activities 1–3 will be particularly useful in providing additional reinforcement for weaker writers.
Support:
Challenge:
● Activity 1: Use Resource 9.3 (INT) to reinforce the
significance of tense and importance of consistent
use of the same tense throughout a piece of writing.
● In Activity 2, widen the success criteria to include
language choice (e.g. choice of finite verbs) as
well as tense and sentence structure in order to
engage the reader and enhance the effect of
tension.
● In Activity 2, create a communal word bank for an
agreed scenario, to be shared by the whole class or
a supported group. Ask students to focus on using
minor sentences without any verbs in their writing,
and when feeding back make some suggestions for
further minor sentences that include non-finite
verbs.
22
● In feedback discussions featuring use of minor
sentences, encourage very specific comments on
effect. Why might the writer have used this
specific minor sentence at this point? Encourage
them to swap in different non-finite verbs or minor
sentences and compare the effects.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Resources 10.1 (PP), 10.2 (INT), 10.3 (PP), 10.4 (WS),
10.5 (PP), 10.6 (INT), 10.7 (WS), 10.8 (WS)
Writing: AF5
GCSE Assessment Objectives:
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms in ways that
engage the reader
Writing: AO3ii Organise information and ideas into
structured and sequenced sentences, … using a
variety of linguistic features to support cohesion and
overall coherence
LESSON 10: Effective starters
Learning objectives:
Learning outcomes:
● Be able to start sentences in a range of ways to
create variety, pace, drama or emphasis in your
writing
● Explore different ways of opening sentences
● Write a further paragraph of the short story extract
started in the previous lesson, focusing on
sentence openings
Grammar focus:
Determiners: words which precede a noun and come at the front of noun phrases, conveying definiteness (eg
the, a) quantity (some, all) etc. For more on determiners, see
http://www.cybergrammar.co.uk/word_classes_determiners.php
Pronouns (see lesson 2)
Adverbs and adjectives (see lesson 5)
Subordinate and coordinate clauses (see lesson 7)
Non-finite verbs (see lesson 9)
Introduction:
Whole class: Display Resource 10.1 (PP). Ask students to fill the gaps in the sentences, then identify their
common role. Aim for a definition of determiners: they modify the noun, preceding all other modification, telling
the reader about definiteness (‘the’, ‘a’), quantity (‘some’, ‘all’, ‘every’), number (‘one’, ‘two’, ‘three’), possession
(‘my’, ‘your’), etc.
Complete Resource 10.2 (INT) to recap and refresh some key terminology: determiners, pronouns, adverb,
adverbial phrase, adjectives, coordinate clause and coordinating conjunction.
Development:
Pairs: Complete Activity 1, question 1. Hint: read both versions aloud; then look at the first word of each
sentence.
Whole class: Invite feedback and discuss the effect of repetitive sentence openings/structures (lack of variety for
the reader; no subtlety in meaning because same pronoun is always emphasised by being placed at the start of
the sentence).
Pairs: Complete Activity 1, questions 2–4. Students can record their responses on Resource 10.4 (WS).
Whole class: Invite feedback and compare volunteers’ tallies. How does the class’s sentence starter variety
compare with the professional writer’s? Which piece of writing is more effective? Aim to show how important
sentence starters are.
Whole class: Read through the Writer’s workshop on page 35 of the Student Book, or use Resource 10.5 (PP)
for a more active presentation of the same examples and explanations. Introduce Activity 2, question 1. Display
and complete Resource 10.6 (INT), which features some model pieces of writing and a range of comments on
their effect. Students should select the most appropriate comment on the effect of each response. Emphasise
the impact which fronted (i.e. positioned at the front of the sentence) information can have.
Individuals/Pairs: Complete Activity 2. Students can record their responses on Resource 10.7 (WS).
Whole class: Share feedback, compare and discuss a range of responses to Activity 2. You may want to
challenge pairs to choose their favourite version of the sentence, and argue for it against another pair, supporting
their argument with comments about the effect it has on the reader.
Teacher: Introduce Activity 3. Remind students of the writing they completed in the previous lesson – and any
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23
preparation work, e.g. word banks.
Individuals: Complete Activity 3, continuing their writing from the last lesson if relevant. Students can then
complete Activity 3, question 2 and record the sentence starters they have used in their response using
Resource 10.8 (WS).
Conclusion:
Pairs: Share responses to Activity 3 and tally of sentence starters on Resource 10.8 (WS) with a partner.
Partners should annotate their partner’s writing, using the Check your writing criteria on page 37 of the Student
Book, which can be displayed at the front of the class using the ActiveTeach. Alternatively pupils can selfassess.
Homework/ActiveLearn:
Students should complete ActiveLearn exercise Sentence starters. This provides additional examples
reinforcing understanding, and opportunities to assess variety. Activities 1–3 will be particularly useful in
providing additional reinforcement for weaker writers.
Alternatively, or in addition, you may want to ask students to complete the independent writing ActiveLearn
exercise Adding meaning and variety using sentence types. This gives students an opportunity to revise key
learning from the previous lessons, implement it within their own writing, and then self-assess, comparing it
against a piece of exemplar writing.
Support:
Challenge:
● In Activity 1, question 1b, display Resource 10.3
(PP), which features some possible responses for
students to agree/disagree with.
● In Activity 1, ask students to choose further
sentences from the extract on page 32 of the
Student Book and firstly rewrite them to achieve
similarly monotonous openings/structures, and
then swap with a partner who will rewrite them
with greater variety.
● Work collaboratively in pairs on completing writing in
Activity 3 before self-assessing.
● In Activity 3, ask students to focus on achieving
variety and effect by careful and precise language
choice in a range of sentence starters, but also
thinking about overall sentence structure (use of
coordinate clauses, for example) as well as overall
cohesion of their writing by appropriate use of
paragraphing to achieve full reader engagement.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 38–39
AF5 and AF6
Resources 11.1 (PP), 11.2 (INT), 11.3 (PP), 11.4 (PP),
GCSE Assessment Objectives:
11.5 (WS), 11.6 (WS)
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms in ways that
engage the reader
Writing: AO3ii Organise information and ideas into
structured and sequenced sentences, paragraphs
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect, with accurate punctuation
and spelling
LESSON 11: Spy speak
Learning objectives:
Learning outcomes:
● Understand how dialogue can be structured and
punctuated using identifiers to imitate the patterns
and rhythm of real, natural speech
● Write a short story extract focusing on dialogue,
and its accurate punctuation for effect
Grammar focus:
Identifiers: Identifiers are phrases that identify the speaker in dialogue, e.g. ‘he said’, ‘she whispered’, ‘shouted
Joan’, etc.
Speech punctuation: This is the way in which text within speech marks is punctuated, depending on the
presence of an identifier.
Introduction:
Whole class: Together, create a punctuation kit for speech, i.e. all the punctuation marks you will need in order to
punctuate dialogue accurately. Use this activity to gauge students’ awareness of, and familiarity with, the
conventions of speech punctuation. Prompts – visual and verbal - are available on Resource 11.1 (PP). Before
moving to slide 4, ask students to look at a typical section of text that includes speech (e.g. the example on page
38 of the Student Book) and decide which of the punctuation marks are essential for speech punctuation (i.e.
speech marks, new paragraph and a comma/full stop/exclamation/question mark at the end of dialogue). These
are highlighted in red on slide 4 of Resource 11.1 (PP). The rest of the punctuation marks are either those that
are incidental (i.e. an apostrophe in the dialogue itself) or can be used for effect (i.e. ellipsis, colon and dash).
These are in blue on slide 4.
Reinforce students’ awareness of speech punctuation by completing Resource 11.2 (INT) as a class. You might
wish to refer them again to an example of dialogue that includes identifiers, such as that on page 38 of the
Student Book.
Development:
Whole class: Read the extract aloud, casting three volunteers to read the two characters and the narration. You
might need to rehearse this two or three times to achieve full fluency! Remind students what an identifier is and
why it is called this (it identifies who is speaking). Ask students what they notice about the pace of the dialogue.
Complete Activity 1, question 1 together and discuss.
Pairs: Students read the extract again and complete Activity 1, question 2. Encourage pairs to read the results of
any experimental rewrites aloud to each other to explore how they have affected the pace of the dialogue.
Whole class: Invite feedback and discuss. Look for responses that recognise the change in pace from faster (as
the writer omits identifiers) to more hesitant (as the writer uses identifiers to suggest pauses).
Whole class: Read through the Writer’s workshop, or use Resource 11.3 (PP) for a more active presentation of
the same examples and explanations.
Pairs: Complete Activity 2, question 1.
Whole class: Share feedback and discuss the range of effects. Look for answers that suggest awareness of
sudden or lingering dramatic pauses.
Teacher: Introduce Activity 2, question 2. Suggest students should write 100–150 words. What possible
scenarios can students suggest? Would they allow a significant amount of dialogue?
Pairs: Students discuss and choose possible scenarios and note a brief summary of the conversation. They also
need to think about what punctuation will be relevant in the scenario they have chosen. Students can record their
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25
ideas on Resource 11.5 (WS).
Individuals: Complete Activity 2, question 2. Point out to students that the majority of identifiers in the extract use
‘said’. The word ‘said’, as it is so essential, does not grate even when repeated frequently and should be
replaced only for reasons of descriptive precision or effect. In their own writing, students should not try to use too
large a range of alternatives to this word, although ones like ‘whispered’ or ‘suggested’ may be appropriate in
some instances. Their focus should instead be on both accurate punctuation within the speech and creating the
desired effect on their reader.
Pairs: After writing, students can use the speech punctuation checklist on Resource 11.6 (WS) to double-check
their accuracy. Students then swap their work and identify and discuss speech punctuation their partner has
used for effect, e.g. the use of ellipsis and dashes. Identify one or two effective examples to share with the
class.
Conclusion:
Whole class: Pairs share examples of effective speech punctuation with the class. One student could read the
words, another say the (relevant) punctuation aloud. Students should give the context of the writing by reading
from Resource 11.5 (WS), and explaining why the punctuation is effective in achieving the effect the writer
wanted to have on the reader. Encourage students to identify precise effects, e.g. characters’ words tailing off
into sinister silence, dramatic interruptions, etc.
Homework/ActiveLearn:
Students should complete ActiveLearn exercise Dialogue. This provides additional examples reinforcing
understanding of speech punctuation and identifiers and their effect. Activities 1–3 will be particularly useful in
providing additional reinforcement for weaker writers.
For further writing practice with dialogue and general extended writing skills, students can also be encouraged to
complete the independent writing ActiveLearn exercise Creating realistic dialogue. This gives students an
opportunity to revise key learning from the previous lessons, implement it within their own writing, and then selfassess, comparing it against a piece of exemplar writing.
Support:
Challenge:
● Complete Activity 1, question 2 as a whole class, or
in a supported group. Focus on reading aloud to
model the effects of changes in experimental
rewrites. A variety of versions to support this
question are available on Resource 11.4 (PP).
● In Activity 2, question 2, encourage a closer focus
on precise language choice and effect as well as
speech punctuation accuracy and effect. You
could do this by challenging students to create two
very different voices for their characters through
language choice and punctuation. Always focus
them through reference to their decisions on
Resource 11.5 (WS).
● In Activity 2, question 2, where students complete
their own writing, weaker writers should focus on
areas of speech punctuation where they tend to
make errors, most frequently at the closing speech
marks, i.e. selecting a correct punctuation mark,
placing this within the speech marks and starting
identifiers with a lower case letter.
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● Encourage experimentation in Activity 2,
producing two versions of the task, each
differently punctuated with differently positioned or
omitted identifiers but identical dialogue. What
effects can be achieved?
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Student Book pages 40–43
Writing: AF1
Resources (from Lesson 1a) 1.3 (WS), 1.4 (WS) and
1.5 (INT)
GCSE Assessment Objectives:
Also: 12.1 (PP), 12.2 (WS), 12.3 (WS), 12.4 (WS)
Writing: AO3ii Organise information and ideas into
structured and sequenced sentences, paragraphs and
whole texts, using a variety of linguistic and structural
features to support cohesion and overall coherence
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect
LESSON 12: Planning a complete spy story
Learning objectives:
Learning outcomes:
Understand how to plan a short story
Plan a short story in the spy fiction genre
Self- or peer-assess the plan
Grammar focus:
There is no specific grammar focus for this lesson. Instead, it is an opportunity to revise and bring together all the
elements of this unit when planning a piece of writing.
It may be helpful to refer back to Lessons 1a and 1b where appropriate.
Introduction:
Whole class: Introduce the final writing task and discuss/compile the success criteria that writers need to bear in
mind. Look for responses that acknowledge the importance of narrative structure and of achieving variety and
clear meaning through use of the range of language features explored in the unit. A reminder of the features
covered in the unit is available on Resource 12.1 (PP). Reveal the slides gradually. As each feature is covered
on slide 1, encourage definitions and/or examples to refresh and reinforce understanding before revealing slides
2 and 3. Note that you will need to refer to the success criteria during this and the next lesson.
Development:
Pairs: Complete Activity 1, question 1, discussing the key genre ingredients to include in the writing task. Refer to
Resource 1.3 (WS) or Resource 1.4 (WS) completed in Lesson 1a, if necessary.
Look at images in Activity 1, question 2 on pages 40 and 41 of the Student Book (using the ActiveTeach) to
prompt ideas for setting and/or opening incidents.
Whole class: Invite feedback, discuss and validate as wide a range of ideas as possible. Encourage students to
take inspiration from (but not to copy!) others’ ideas. Look at the What do better writers do? feature on page 43
of the Student Book. Emphasise the importance of developing an original plot idea within the parameters of the
genre.
Individuals/Pairs: Discuss Activity 1, question 3, with a partner. Use the ActiveTeach to zoom in on the plot ideas
that are shown on page 42 of the Student Book. This is also available on Resource 12.2 (WS) for handing out to
students. Individuals complete plot planning on Resource 12.3 (WS).
Teacher: Introduce Activity 2, explaining that this preparation will significantly improve the quality of their writing.
Individuals: Working individually, but in consultation with a partner, complete Activity 2. Students can record
responses on Resource 12.4 (WS).
Pairs: Compare and discuss plans with a partner. Complete the Check your writing task with a partner. Are
partners agreeing?
Conclusion:
Whole class: Invite feedback and discuss any issues, difficulties, etc. encountered and ask volunteers to suggest
solutions or advice. Could a plot be changed to make it more engaging? Or perhaps a greater variety of
language features, vocabulary or sentence types could be used? Volunteers share particularly successful,
effective plans for discussion and supportive comment.
Homework/ActiveLearn:
Ask students to find blurbs to at least two spy stories they have enjoyed. These might be on physical books or on
a book-selling site such as Amazon. Using these as a model, they should write a blurb for their own story that is
one paragraph long and designed to engage and intrigue the reader without revealing too much of the story.
They should then review their planning, with particular attention to its intended impact on the reader. Does your
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27
plan deliver what the blurb has promised? How could that impact be strengthened, considering narrative
structure and language choice in particular?
Support:
Challenge:
Suggest limited focus on two or three parts of narrative
structure, e.g. the exposition and the resolution, and
perhaps the ‘middle’ as well. You could ask students
to depict this in a basic cartoon strip format with
labels to really help them visualise and
communicate the action within the story.
Explore ways in which the conventions of the genre
can be stretched or broken for effect, focusing on
originality, not parody. Could there be an
unexpected twist in the story towards the end, for
example?
Repeat Resource 1.5 (INT) from lesson 1a, to refresh
and reconsider awareness of key ingredients to
consider including in their story.
Encourage partners to tell their planned story to each
other – and to question anything that is unclear or
ineffective.
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Encourage experimentation with narrative structure,
e.g. exploring the effect of starting at the climax
and flashing back to the exposition.
Encourage detailed feedback on their partner’s plan,
considering word, sentence and text level and
what effect each of these will have on a reader.
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Title of Scheme: Spy fiction
Resources required:
Assessment focuses:
Resources A2.1 (WS), A2.2 (WS)
Writing: AF1, AF5, AF6, AF7
GCSE Assessment Objectives:
Writing: AO3i Write clearly, effectively and
imaginatively, using and adapting forms and selecting
vocabulary appropriate to task and purpose in ways
that engage the reader
Writing: AO3ii Organise information and ideas into
structured and sequenced sentences, paragraphs and
whole texts, using a variety of linguistic and structural
features to support cohesion and overall coherence
Writing: AO3iii Use a range of sentence structures for
clarity, purpose and effect, with accurate punctuation
and spelling
ASSESSMENT 2: The full story
Learning objectives:
Learning outcomes:
Write a complete spy story
Write and evaluate a complete or an extended extract
from a short story in the spy fiction genre
Grammar focus:
There is no specific grammar focus for this lesson. Instead, it is an opportunity to revise and bring together all the
elements of this unit when creating a piece of writing.
Introduction:
Whole class: Check understanding of writing task, success criteria established in previous lesson, and expected
extent of task: the whole story, or one or two stages in the narrative structure, e.g. exposition and conflict. In any
case, aim to write approximately 500–750 words.
Volunteers share the blurbs they wrote for homework in the previous lesson. Which elements of each story will
engage and intrigue the reader?
Development:
Whole class: Remind students of the time and effort put into planning – and, although they may elaborate on it or
make minor changes, emphasise that they should beware of drifting away from the plan and allowing the story to
take control!
Individuals: Complete the first draft of the task.
Pairs: Exchange writing with a partner for feedback. In discussion and/or collaboration with a partner, complete
the Reflect tasks, which are also available on Resource A2.1.
Whole class: Introduce the Check your writing tasks and look closely at the modelled annotation on page 46 of
the Student Book. Why is it effective? Look for responses that acknowledge the inclusion of close reference to
specific features (e.g. pronouns, minor sentences) and their effect on the reader.
Individuals: Complete the Check your writing tasks either by hand or on screen. The assessment criteria are
available on Resource A2.2 (WS).
Conclusion:
Whole class: Volunteers share the opening two or three sentences of their writing with the class. Who wants to
read the rest of the story? Why?
Students swap and share their writing.
Homework/ActiveLearn:
Complete any outstanding drafting, redrafting or self-assessment/annotation. You might want to motivate
students by organising to have some of the completed pieces of writing published on the school website or
similar shared space.
Support:
Challenge:
Development: Limit success criteria for weaker writers
when writing their first draft, asking them to focus on
two specific language features, e.g. by engaging the
Identify key reader responses at different stages in
the story. How could the writer’s decisions be
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29
reader through their choice of verbs and creation of
expanded noun phrases to add description. If
possible, they should also focus on effective
paragraphing and linkage and accurate spelling and
punctuation.
improved to assure or intensify this response?
Encourage closely focused redrafting, experimenting
with language choice, sentence structure,
narrative perspective, etc.
Development: Support individuals/groups with guided
work and agreed short-term targets based around
their plans, e.g. In the next paragraph I could...
Development: When working in pairs to reflect on their
writing, partners could challenge each other to
select and illustrate, or even perform, an extract
from each other’s stories. In doing so, students
should aim to identify an extract with enough
descriptive detail to visualise it effectively, as well as
an extract where additional descriptive detail could
be developed.
30
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