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department for
education and skills
Varying Style
The National Literacy Strategy
Relevant objectives
Year 2 Term 3
T10 to write sustained stories, using their knowledge of story elements: narrative, settings, characterisation, dialogue and the
language of story.
Year 3 Term 1
T2 how dialogue is presented in stories, e.g. through statements, questions, exclamations; how paragraphing is used to
organise dialogue; conventions of speech marks; vocabulary for dialogue.
T10 using reading as a model, to write own passages of dialogue;
T11 to develop the use of settings in own stories by:
writing a description in the style of a familiar story;
investigating/collecting sentences/phrases for story openings and endings - use some of these in retelling and story
writing.
Year 3 Term 2
T3 to identify and discuss main and recurring characters, evaluate their behaviour and justify views;
T8 to write portraits of characters, using story text to describe behaviour and characteristics, and presenting portraits
in a variety of ways, e.g. as posters, labelled diagrams, letters to friends about them;
Year 3 Term 2
T10 to write alternative sequels to traditional stories using same characters and settings, identifying typical phrases and
expressions from story and using these to help structure the writing.
Year 3 Term 3
T11 to write openings to stories or chapters linked to or arising from reading; to focus on language to create effects, e.g.
building tension, suspense, creating moods, setting scenes.
Year 4 Term 2
T10 to develop use of settings in own writing, making use of work on adjectives and figurative language to describe settings
effectively.
T13 to write own examples of descriptive language based on those read. Link to work on adjectives and similes.
Year 5 Term 1
T15 to write new scenes or characters into a story, in the manner of the writer, maintaining consistency of character and style,
using paragraphs to organise and develop detail.
Year 5 Term 3
T9 to write in the style of the author, e.g. writing on to complete a section, resolve a conflict; writing additional dialogue, new
chapter.
Year 6 Term1
T6 to manipulate narrative perspective by:
writing in the voice and style of a text;
producing a modern retelling;
writing a story with two different narrators.
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Year 6 Term 2
T10 to use different genres as models to write, e.g. short extracts, sequels, additional episodes, alternative endings, using
appropriate conventions, language.
Writing explanations and principles
The idea that writing style varies according to the type of writing, the audience and purpose, is obvious when
thinking about non-fiction. The sentences in an instructional text are very particular in their language and
construction. The verb is near the front, in the imperative, e.g. Turn the handle to the left. The writing is often
stark, in that adjectives and adverbs are used in a precise manner and not for embellishment.
It is actually the same in narrative. Different types of story have their own typical features - settings, characters,
events, as well as language. So, for instance, a ghost story will have certain stock events, characters and use
particular stylistic constructions and language. Different writers also have their own writing style, which is reflected
in their choice of vocabulary, sentence structures and the way that they tell their story.
When children are studying different types of narrative, they need to become familiar with the stock features of the
genre, including the style. This means that they can then vary their own written style according to the audience
and purpose. To achieve this ability to adopt and adapt to different written styles, children have to read many
examples and have the stylistic features explicitly taught. The influence of a number of different styles of writing
will also help young writers develop their own favoured style.
Style varies from writer to writer, and from genre to genre. But writers also vary their style within a tale, to create
different effects. For instance, descriptive passages may have longer sentences, with more adjectives, while to
create suspense a different style is needed, where short sentences are used to give impact and dramatic pace.
Written style is focused upon four key areas:
Words - selecting appropriate vocabulary;
Sentences - creating, controlling and varying sentences;
Whole texts - maintaining consistency in the style chosen, as well as securing cohesion, rhythm and flow;
Stylistic devices - using language features such as alliteration, onomatopoeia, simile, metaphor and
personification.
The difference between the official style of a formal letter and the informal, chatty style of a diary may be relatively
obvious, but within narrative writing a sense of style can be difficult to pin down. The key to children developing
their own style and being able to adapt their written style comes through constant reading and discussion of a
range of good quality whole texts. The implication of this is that planning must provide a sufficient length of time
for the children to read and have read to them many examples of any text type that might be unfamiliar. For
instance, constant reading and rereading of a range of traditional tales will enable children to begin to adopt a
similar style within their own writing.
Children’s own style develops through the regular and attentive reading and discussion of good quality literature.
Reading aloud, discussing, responding in a variety of ways and using drama are especially important. The use of
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drama helps children imaginatively rehearse what they might write, and acts as a powerful precursor to writing.
Writing ‘in role’, often in relation to events in a story, is also a powerful method for helping children adopt the
mantle of another writer, e.g. writing as if you were a character in a story. Discussion of children’s stories is an
important aspect of developing written style. Children should read aloud their work to a partner or story circle, and
use this to help them ‘hear how it sounds’. Use of an OHP can involve the whole class in focusing upon what is
effective in a story and how aspects might be developed. This needs to become a regular routine so that children
learn how to reread their own writing, as a reader, and adapt what has been written to make it 'sound like a good
story’.
To teach written style, use the teaching writing sequence outlined in the Grammar for writing book and video.
Teaching sequence for developing written style
Reading - as writers, some quality examples of a text type.
Focused activities - investigate the written style, focusing on specific aspects.
Define - discussing, as writers, what is distinctive about the style. Create a wall chart, or notes, providing
‘written advice’ and examples of written style.
This first part of the sequence develops the children’s knowledge the style of the particular text type.
Teacher demonstration - the teacher acts as a writer, showing the class how to write the type of text,
referring back to the reading models and what has been discovered about the appropriate style.
Shared composition - the teacher acts as scribe, focusing and refining the class’s composition.
Supported composition - children practise ideas on whiteboards, use a writing frame, a paragraph
planner, complete a half-filled text, etc. At this stage the class focus on developing one particular aspect of
written style that they will soon use within a whole text.
Supported/independent writing - the class write their own text, using the features that have been
explicitly taught.
Review and publish - teacher and children review writing, revise and publish. The next steps are planned.
This second part of the sequence develops children’s skills as writers, putting to use the knowledge that they built
up in steps 1-3.
Annotated examples
Traditional
Once, not twice, but once upon a time, there was a certain chief who had three daughters. Not one, not two, but
three. Now one day he sent the first daughter out into the forest to fill the fire basket. She had not travelled far
when she heard behind her the sound of feet. Pitter-patter, pitter-patter, pitter-patter. She turned round and there
standing on the path was a wolf. A thin wolf, a lean wolf, a hungry wolf…
Points to make:
Typical traditional opening. Use of ‘there was a certain’. Number three typical of oral tales. Repetition, e.g. ‘not
one, not two’, ‘pitter-patter’. Use of some oral techniques, e.g. ‘Now…’. Typical events, e.g. gathering firewood.
Typical setting - forest. Typical event - a wolf appears! Typical character - third daughter. Building up a
description in threes, e.g. ‘A thin wolf, a lean wolf, a hungry wolf’.
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The horror tale
At that moment the dog leaped, clawing towards Tim’s face. They tumbled. Tim’s head cracked against a rock,
and bright lights jarred his mind. Through a red fog he saw the dog. Its red eyes burned with hatred. The yellow,
jagged teeth opened wide. Tim screamed as the dog sunk its teeth into his shoulder. Bones cracked…
Points to make:
Use of surprise opening to paragraph ‘At that moment’. Powerful action verbs, e.g. ‘leaped’, ‘clawing’, ‘tumbled’,
‘cracked’, ‘jarred’, ‘burned’, ‘screamed’, ‘sunk’. Short sentences for impact, e.g. ‘They tumbled’. Use of sound
effects, e.g. ‘cracked’. Use of unpleasant detail, e.g. ‘red eyes’, ‘yellow’, ‘jagged teeth’. Showing reactions, e.g.
‘Tim screamed’. Use of typical ‘monster’ - the wild ghost dog. Use of a hook, e.g. ‘burned with hatred’ (why,
what has happened, what will happen?).
A chatty style
Hi. My name is Samantha. Most of my friends call me Sam. I’m ten years old and I’ll tell you one thing. Living with
one parent is bad enough. But my Dad is the saddest Dad ever. I don’t mean he’s gloomy. Far from it. He’s
always happy. And that is part of my problem…
Points to make:
Use of everyday speech, e.g. ‘Hi’. First person -I- and present tense - ‘is’. Written as if talking to the reader – ‘I’ll
tell you one thing’. Use of non sentences, e.g. ‘Far from it’. Use of topical words, e.g. ‘sad-Dad’. Reader treated
as confidant being let into a secret - ‘and that is part of my problem…’
Creating suspense
Charlie sat up in bed. It had to be the middle of the night. What had woken her? She stared across the room. She
could make out the familiar shape of the chair against the window. She looked at the curtains, as she had many
times before. Sinking back onto the pillow she let her eye run up the edge of the curtain to the top, along the top
and back down the other side. She often did this, it was like a game to her. It was then that she noticed the hand,
clutching the curtain, pulling it to one side. Silently, quite silently…
Points to make:
Question used to make reader wonder what had woken her. Balance of short and longer sentences. Use of
‘familiar’ to hint that something unfamiliar might appear. Typical setting for suspense - middle of night, alone.
Lulling reader into thinking nothing will happen as she carries out a comforting routine – ‘like a game to her’. Use
of typical opening - ‘It was then that…’ to introduce suspense. Sudden punch of the word ‘hand’. Powerful and
dramatic verb - ‘clutching’. Repetition, to slow pace and build suspense, not letting reader know what is going to
happen too quickly Silently, quite silently’…
School story
Mr Grim faced the class. He barked a harsh command and there was silence. He was not used to being trifled
with. Unfortunately, it was at that moment that Squeaker decided to creep out of Storm’s pocket. On the other
side of the classroom Tracy saw Squeaker’s perky little face and twitching whiskers. She screamed – and Mr
Grim’s eyes bulged in fury…
Points to make:
Use of character’s name to suggest characterisation - ‘Mr Grim’. Powerful verb to build character - ‘barked’.
Frightening moment swiftly lightened by appearance of Squeaker the mouse - typical debunking of tyrannical
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adult. Exaggerated description of ‘bad’ character – ‘eyes bulged in fury…’ Use of friends versus common enemy
- Storm and Tracy.
Fantasy
They stared at the trunk of the tree as the bark peeled back like a second skin. It was on a sort of flexible hinge
and as it rolled back like a sardine can being opened they could see straight into the tree. It was hollow, quite
dark. But at that moment a head popped out. It was the hare that they had seen in the lane. It looked from one to
the other and then spoke. “Well, you’d better come straight in. No point in hanging about in the cold,” it declared
fussily, twitching its whiskers.
Points to make:
Use of surprise event - ‘the bark peeled back’. Use of simile to create a strong picture - ‘like a second skin’, like a
sardine can being opened’. Short sentence to create a little suspense, not giving away what is inside the tree
immediately - making the reader wonder - ‘It was hollow, quite dark’. Sentence starting with ‘But’ to introduce
dramatic moment - ‘a head popped out’. Use of everyday speech in fantastical situation. Use of detail to bring
creature alive - ‘twitching its whiskers’. Use of adverb ‘fussily’ to make the hare seem business like, friendly and
homely - avuncular.
Key teaching ideas
Directly imitating a writer’s narrative style is difficult, unless the style is distinctive. However, it is possible to adopt
features of a style, if these are made explicit and the children have read sufficiently. Reading aloud is crucial, as it
allows the auditory imagination to capture the flow of the sentences and the rhythm of the writing.
Good examples need to be provided, which can be discussed to see how different writers gain effects ‘reading as a writer’ is a key aspect of developing a written style.
The Grammar for writing book contains teaching ideas for developing a written style and the video provides
some examples of teaching written style, e.g. using powerful verbs to show character, writing a suspense
paragraph, ending a story by showing how the character has changed through what they say or do. The
Developing early writing book contains many ideas for teaching sentences, the early basis of style, at Key
Stage 1.
Grammar makes sense when it becomes an integral part of improving writing style. Exercises should
develop a skill that can then be used to enhance writing.
Improvise the next part of a story and use this as a basis for writing.
Writing ‘in role’ as a character from a story often helps children adopt the mantle of the writer, coming close
to the writing style.
Publishing provides the motivation for revision - the desire for technical accuracy and the impetus to craft the
tale for maximum impact.
Teach revision through whole-class revision, story circles and response partners.
Keep revision focused on sections of narrative to make it manageable.
The aim is that ultimately more and more of the revision actually happens in the head before being written
down - the writing is refined as it is composed, rather than being rescued after the event (which can be offputting and tedious).
A prime motivator for writers comes through providing an audience beyond the teacher as examiner,
‘growling, hissing and spitting from the margins’.
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Young writers need their teacher to respond as readers, ensuring that initial responses identify what is
successful - but also demonstrating where and how to improve style and content.
Use response partners and story circles so that children can read their stories aloud, listening to what
‘sounds like a book’ and where the style needs crafting.
Broaden the audience by using photocopying, computer printouts and e-mail, creating anthologies, wall
displays and tapes, reading aloud in assemblies, taking writing home, making booklets, scrapbooks and
class novels.
To improve writing style use, the Grammar for writing ‘writing sequence’ to teach children how to:
- rearrange sections;
- add in material, especially detail;
- heighten and intensify the language;
- take out overwriting and padding;
- vary sentences by trimming, extending and reordering;
- use stylistic devices judiciously.
There are a few key activities to help children develop their style:
collecting words and phrases for future use in writing;
imitating sentence structures;
embellishing dull sentences;
developing the facility to create and vary sentences;
learning how to combine and link sentences;
experimenting with creating noun phrases, using subordinate clauses to add in further information, using
similes, metaphors, personification, alliteration and onomatopoeia;
imitating paragraphs;
writing in role as a character from a well-known story.
Use whiteboards for quick-fire syntactical gymnastics to improve the ability to create and manipulate sentences.
Only give the children 10 - 15 seconds to create their sentences. Check for capital letter, full stop and sense. Ask
them to reread and check before holding the board up. Keep the activity swift, lively and fun. Once basic
punctuation is secure, begin to consider what makes an effective sentence:
Creating sentences by providing one word and the children have to create a sentence quickly. Move on to
two or three words, e.g. ‘jam’, ‘elephant’, ‘iron’.
The elephant spread jam onto its trousers with a handy iron.
Creating several sentences by providing several words, one to be used in each sentence, e.g. ‘jam’,
‘elephant’.
The fat elephant was always hungry. It paused by the jam jar and sniffed at the jam.
Improving a dull sentence, e.g.
The dog looked at the cat. Could become:
The sleepy Rottweiler blinked at the cat, as it toyed with the mouse.
Adding adjectives and adverbs into a sentence, e.g.
The dog looked at the cat.
The shaggy dog looked at the sleek cat.
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Changing verbs and nouns. e.g.
The poodle peered at the Siamese.
Dropping in a phrase or a clause, e.g.
The hot and dusty dog looked at the cat, while the goldfish swam round and round.
Changing the sentence type, e.g. to a question or exclamation.
Was the dog looking at the cat?
Look at that cat!
Changing the text type, e.g. altering the sentence as if it were a newspaper headline or a recipe.
Dirty dog looks at cool cat.
Place dog beside cat and leave to simmer gently for several minutes.
Extending the sentence using a given connective, e.g. ‘because’.
The dog looked at the cat because it was short-sighted and thought that the cat was a handsome terrier!
Trimming a long sentence.
The dog looked.
Joining two or three simple sentences, e.g.
The dog looked at the cat. The cat shot out of the window.
The cat shot out of the window because the dog looked at it.
(It is helpful to have a bank of useful connectives.)
Writing a piece of dialogue, e.g.
“When I was there the dog was just looking at the cat,” replied Mr Wormhound.
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department for
education and skills
Varying Style
The National Literacy Strategy
Key pointers for young writers
Think about the audience, purpose and type of story that you are writing - what is going to
be ‘typical’? - how is this sort of story written? - what typically happens? - where? - what
are the characters like? - what is the language like?
Read plenty of examples of the genre that you are interested in writing.
Collect examples of typical features in your writing journal. Use these features in your own
writing.
When you write pretend that you are a character in a story and write as if you were in that
story. Or pretend that you are the writer of a story that you know well.
Reread your writing aloud. Listen to what it sounds like. Which bits sound like a story?
Which bits do not? Craft the parts that do not flow like a book.
24 key points about writing narrative style:
1 Write with clarity
Avoid clumsy sentences, flowery language, red herrings and too much description. Keep the
writing clear and simple. Let the reader get on with the story.
2 Balance show and tell
In the main, use concrete description rather than telling the reader what to think or feel.
3 Don’t overload the reader
Don’t labour description - often one or two details will be sufficient. The reader can fill in the
gaps from their imagination.
4 Use hooks and links
Tease the reader by dropping in hints and suggestions. These can make the reader wonder
and want to read on. Make sure that there are sufficient links to keep the narrative fluid.
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5 Build pictures with sense impressions
Concrete descriptions help the reader to live the story by creating images while reading.
6 Be natural
Use the flow of your own language. Avoid trying to be too clever, flowery or ‘literary’.
7 Strengthen nouns and verbs
Use precise nouns as they have strong connotations - use powerful verbs as they tell the
reader something about the character, e.g.
8 Beware of modification
If an adjective or adverb is used this may mean that there is a weak noun or verb. Do not
overwrite, using too many descriptive words, or they will cancel each other out.
9 Keep it simple and powerful
Don’t use any extra words or sentences. These will slow up the narrative. ‘Empty’ words
create suspense, e.g. ‘Something moved’.
10 Tighten sentences
Keep an eye on making sentences dramatic.
Which is more effective - ‘The man was running down the lane’ or ‘The man ran’?
11 Choose the right language
For example, suspense words such as ‘suddenly’ or ‘without warning’ may be useful.
12 Vary sentences
Balance the rhythm of short/long sentences. Use simple sentences for clarity and impact. Use
compound for flow. Use complex to add extra layers of meaning. Can the writer use questions
to draw the reader into the narrative? Exclamations command attention!
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13 Use sentence fragments
Break the sentence rule, using a fragment to emphasise a point. Sparingly.
14 Vary sentence openings
Starting every sentence in the same way is dull. Experiment with adverbs (‘Carefully, she…’),
non finite verbs (‘Laughing, she…’), prepositional phrases (‘At the end of the lane’, …), similes
(‘Like a train, she ran’), subordinate clauses (‘Although she was tired’, …).
15 Vary word order
Consider the impact on meaning of varying word order, e.g. Into the car climbed the man.
16 Add ‘in’ and ‘on’
Add in words, phrases or clauses to include extra information that is needed, e.g., ‘The man,
who had been shot, climbed into the car’.
17 Intensify sentences
Change words to intensify meaning, e.g. ‘The girl went home’ becomes ‘Jo limped home’.
18 Use stylistic devices sparingly
Create sounds - with alliteration and onomatopoeia. Create images with similes, metaphors
and personification.
19 Trim it back
Cut sentences back for impact.
20 Use sentences to intrigue the reader
‘Tom had a secret…’.
21 Have a simple, elegant plan in mind
Even stories that seem to be written intuitively will have a hidden structure that the writer
discovers. Begin with a simple shape that guides the tale.
22 Have a direction in mind
If writers do not know where the story is heading then it will ramble, like life. But writers should
be prepared to change the ending if, once they get near, a better idea appears. Joan Aiken’s
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advice to young writers is, ‘write the last line first’. Narrative has direction. Without direction
you cannot use hooks.
23 Compose in paragraphs
Open the paragraph knowing where it is going. Make each paragraph a unit of intention. Link
paragraphs. See how they look.
24 Stay with the story
Imagine it, see it, live close to it - let it live.
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