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TEACHER’S BOOKLET
Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JE
England and Associated Companies throughout the World
© Pearson Education Limited 2003
The right of Dr Helen Bulbeck to be identified as the author of this work has been
asserted by her in accordance with the Copyright, Design and Patents Act of 1988.
Extracts from The Wind Singer © William Nicholson
The original edition of The Wind Singer is published by Egmont Books Limited
All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise without the prior written permission of the
Publishers or a licence permitting restricted copying in the United Kingdom issued by
the Copyright Licensing Agency, 90 Tottenham Court Road, London, W1T 4LP.
ISBN 0 582 81897 4
First published 2003.
ISBN 0-582-81897-4
9 780582 818972
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Introduction
Aim
Managing group and guided work
This resource provides materials to support the teaching
of framework objectives through guided and group
reading. Guided and group reading is a shared, social
activity and it is important that pupils are given the
opportunity to talk rather than write about their
reading. Emphasis is placed on the promotion and
development of independent reading, and pupils are
asked to reflect on and develop new reading strategies.
It may take time to develop the culture of guided work
in the classroom, but it is worth persevering. The
following may help:
• Where possible, create groups from pupils with
similar reading and confidence skills.
• Make the groups responsible for their own organisation.
• Identify time and, if possible, clerical support, for
managing the resources.
• Use additional adult support in the classroom.
• Edit the materials to suit the needs of the pupils.
• Give the groups concrete outcomes.
• Specific roles can be given within the groups,
including the role of a timekeeper.
• Organise pupils into ‘study buddies’.
• Peer assessment can be used, as can rewards.
• Make it clear that all pupils are expected to
contribute to the plenary.
The lesson outline
(pages 5–8)
The lesson outline provides a structure for the organisation
of teaching at a glance. It is intended to provide you with
a flexible framework that can be adjusted to suit your
circumstances. The structure provided will enable you to
cover a longer text, while maintaining pace. Objectives are
explicitly taught and are clearly placed within the context
of the book, and with the lesson structure. There will be
issues about coverage, but it is more important that pupils
are able to explore their reading through talk and other
interactive approaches, rather than, for example, sitting
passively as the whole book is read to them, or worse,
being asked to ‘read around the class’.
A group worksheet is not provided for the first lesson
as the structure of this lesson is different from the rest.
Use the lesson outline to introduce and establish the
ground rules for group and guided sessions.
Approaches for progressing through the book include:
• pupils or teacher recapping previous chapters that
may not have been read
• jigsaw reading (groups are given a section or chapter
to read and then the group reports back)
• use of video
• use of prepared summaries or diagrammatic
representations of the plot
• reading at home, if appropriate.
It is also important to allow pupils to control their own
reading. If they want to read on, then let them. Rereading chapters and revisiting prior reading will always
highlight things that were missed on a first reading.
Guided and group work
You will see from the lesson outline that this resource
provides six opportunities for guided reading. Guided and
group reading facilitates interaction, not only between
teacher and pupil, but also between pupil and pupil. The
focus on objectives enables the teaching and learning to
be pitched high, so that pupils’ learning is challenged and
extended. Guided reading focuses on reading strategies,
enabling pupils to develop as independent learners.
This resource has six guided sessions, so that every
pupil will have the opportunity to work closely with the
teacher. Underpinning these sessions are the 12 group
activities, so that the rest of the class is able to work
independently from the teacher. It is envisaged that
each group will consist of no more than six pupils.
2
Resources
The scheme of work in this booklet does not have heavy
resource implications but ideally resources should be prepared
in advance. Group worksheets could be photocopied onto
coloured card and laminated, so that each group has an
identifiable colour. The main resources you will need are:
the group worksheets, guided session planners, copies of
the reading strategies, copies of the reader, highlighter
and marker pens, sugar paper, reading journals and
copies of extracts on OHT and paper for annotation.
Suggested starter activities are provided at
www.longman.co.uk
Reading journals
While the main aim of this resource is to encourage
pupils to talk about their reading, reading journals
provide pupils with the opportunity to reflect, speculate
and express their immediate responses to what they
have read. It is important that they regard the journal
as part of a continuing dialogue with the teacher and
with each other, rather than work that is to be marked.
The variety of entries could include:
• noting responses
• questions arising
• mind-mapping and other graphic representations
(tension graphs, timelines)
• jotting down words and phrases that need clarifying,
or that they could ‘steal’ for their own writing
• keeping track of the plot.
Opportunities for using the reading journal are
highlighted in this resource, but it may be worthwhile
establishing routines so pupils know when they are
expected to make an entry. For example, pupils could
be asked to reflect every lesson on the reading
strategies that they have used, and make a brief note
about this, including reference to the text.
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Approaches to the Starter
The following approaches and techniques are ideal for providing fast,
focused and highly interactive lesson starters:
• activating prior knowledge through mind-mapping
• developing the use of the reading journal to encourage pupils to
reflect on subject matter, style and technique
• working with response partners to provide speaking and listening
opportunities and time for the clarification of ideas
• using drama activities that encourage empathy and reflection
• using card sort activities to help pupils develop conceptual
understanding and higher order thinking skills
• using text marking to identify word, sentence and text level features
• providing opportunities for modelling and text transformation to
develop pupils’ knowledge of stylistic conventions of the text
• using graphic organisers to build up pupils understanding of
text types, e.g.:
recount
instruction
information
persuasion
explanation
discussion
3
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Overview of objectives
The objectives selected here focus on enabling pupils to read as readers; to deepen
understanding and appreciation, but also and to read as writers. Pupils are required
to identify typical features and explore how writers gain impact. This is the point at
which the bridge between reading and writing is made – when the pupil has the
ability to step outside the body of a text and look at it as a writer. While the majority
of objectives selected reflect development of reading, this does not imply that they
should be approached in isolation or taught in a reductive way. The objectives listed
below encompass the ability to recognise, understand and manipulate the
conventions of language and develop the pupils’ ability to use language
imaginatively and flexibly, in the narrative context. Objectives (and pupils!) benefit
from being explicitly taught and from being identified and deployed in context.
Other objectives can also be taught (through starter activities), but it is up to the
teacher to decide where the priority lies and to adapt the resource materials
according to the need of the pupils.
While Year 8 has been the focus for this resource, this does not mean that the novel
could not be used with other year groups. With this in mind, the Year 7 and Year 9
objectives listed could underpin the novel.
Year 7
Year 8
Year 9
Reading
Sentence
Reading
R6 Active reading
R7 Identify main ideas
R8 Infer and deduce
R9 Distinguish writer’s views
R12 Character, setting and
mood
R14 Language choices
R15 Endings
R16 Author attitudes
Sn10 Informal to formal
Sn12 Degrees of formality
R6 Authorial perspective
R10 Interpretations of text
R13 Evaluate own reading
R18 Prose text
Writing
Wr2 Planning formats
Wr3 Exploratory writing
Wr7 Narrative devices
Wr11 Present information
Wr14 Evocative description
Speaking and listening
S&L1 Clarify through talk
S&L3 Shape a presentation
S&L7 Pertinent questions
Reading
R3 Notemaking formats
R4 Versatile reading
R5 Trace developments
R7 Implied and explicit
meanings
R8 Transposition
R10 Development of key
ideas
R12 Independent reading
R13 Interpret a text
Writing
Wr3 Writing to reflect
Wr5 Narrative commentary
Wr6 Figurative language
Wr8 Experiment with
conventions
Wr17 Integrate evidence
Speaking and listening
S&L3 Formal presentation
S&L11 Building on others
4
Writing
Wr2 Exploratory writing
Wr5 Narrative techniques
Wr11 Descriptive detail
Wr17 Cite textual evidence
Speaking and listening
S&L2 Standard English
S&L8 Evaluate own
contributions
• R4 Versatile
• R3 Note-
3
(includes
guided
session)
4
making
formats
• R5 Trace
developments
• Wr3 Writing
to reflect
reading
• R5 Trace
developments
• R7 Implied
and explicit
meanings
text type, e.g. a family tree, a temperature chart to
track tension, spider diagram to map characters.
• Pupils match graphic organisers to text types.
Using graphic organisers
• Re-read
• Relate to time and place • Model mind-mapping techniques.
• Interpret patterns
• Pupils apply a range of graphic organisers to a familiar
Chapters 6–7
• Group task: mind-mapping
of links between plot,
characters and emerging
themes 4.1
Homework
Read Chapters 8–9.
Plenary
Two pupils feedback which
reading strategies helped
them most.
Plenary
Each group member shares
one example of inference.
Homework
Read Chapter 4.
Plenary
Guided groups define
irony and how it is
presented in the novel.
Homework
Read Chapter 3.
Plenary and Homework
Plenary
Reflect on reading
strategies used and which
to target.
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• Infer and deduce
• Visualise
• Empathise
• Ask questions
• Speculate
• Relate to prior reading
• R5 Trace
2
(includes
guided
session)
Development
Pre-reading
• Reading strategies
• Reading journals
• Introduction to book: title,
cover, comparison of
reviews, etc.
• Read Chapters 1–2
• Pupils write in their journals
three to five questions that
they hope will be answered
at the end of the novel
Character, setting and mood, narrative hooks
Chapter 3
• Revise Year 7 objective: R8 Infer and deduce meanings. • Group task: narrative
hooks 2.1
• Model the reading of the opening page.
• Response partners: a brainstorm of key features to be • Guided reading group:
exploration of irony 2.2
explored at word and sentence level.
2.3
• Card sort: match the narrative hooks to story openings.
• Activate prior knowledge using response partners:
what makes a good opening?
• Pupils record responses on Post-it notes as the
opening page is read to them.
• Articulate the reading strategies used to support the
exploration.
Introduction to portrayal of character; inference
Chapter 5
and deduction
• Group task: explicit/
inferred development of
• Response partners: pupils create definitions for
inference and deduction.
character 3.1
• Model the implicit and explicit features of character. • Guided reading group:
how does the author
• Pupils text mark the extract in two colours (one for
create a sense of power?
explicit, another for implicit features).
3.2 3.3
Starter/Introduction (see www.longman.co.uk)
Guided and group reading; key objectives and
establishing ground rules
• Explain the differences between group and guided
reading.
• Card sort: match the reading strategy to examples.
• In small groups, discuss and define ground rules.
• Develop the use of the reading journal, engaging
pupils with ongoing reflections on subject matter,
style and technique.
• Provide sentence starters as support.
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developments
• R7 Implied
and explicit
meanings
Reading strategy focus
• Predict
• Pass comments
Objectives
• R4 Versatile
reading
• R12
Independent
reading
Lesson
1
Lesson outline
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5
6
• R4 Versatile
• R5 Trace
7
(includes
guided
session)
8
(includes
guided
session)
developments
• R10
Development
of key ideas
• Wr17
Integrate
evidence
• Interpret patterns
• Ask questions
• Hear a voice
• Interpret patterns
• Ask questions
with author
• Interpret patterns
• Ask questions
• Establish relationship
Starter/Introduction (see www.longman.co.uk)
What do we mean by ‘theme’?
• Discuss a whole-class definition of the word ‘theme’.
• Introduce the concept of semantic (lexical) fields and
how key ideas are developed through these.
• Response partners: pupils identify themes in books
they have read recently.
• Re-read the opening chapter of The Wind Singer: how
apparent are the themes at the beginning of the story?
Role of the author
• Activating prior knowledge: What do we mean by
‘voice’ in a text? Which voices can we hear?
• Pupils text mark an extract: What are the characters
thinking? What is the author thinking? Are they
thinking the same?
• Card sort activity: pupils are given a selection of story
openings and should group them under headings –
first, second and third person narrative. What is the
narrative perspective? Which is the most effective?
• Pupils rewrite a couple of sentences from a different
narrative perspective. How does this affect the impact?
Authorial voice and narrative voice
• Recap: What do we mean by ‘authorial voice’? How
is the author ‘heard’ in novel?
• Model the role of the critical reader. Ask questions of
the text.
• Pupils read the opening page of a text and explore
the author’s voice, using the reading strategies:
predictions, speculation, inference and questions.
Prompts could be provided, e.g.
– The author has …
– The author suggests …
– Why has the author … – I think the author will …
Narrative style at word, sentence and text level
• Sentence level starters: simple, compound and
complex sentences.
• Sentence openings: non-finite verbs, subordinate
clauses, adverbs, pronouns.
• Lexical density: changing a verb and adverb into a
stronger verb.
Chapters 13–14
• Group task: timeline of
Chapter 14 8.1
• Guided group: focused
exploration of how the
author creates a sense of
danger and isolation in
Chapter 14, through word,
sentence and text level
features 8.2 8.3
Chapter 11
• Group task: linking
authorial voice to themes
7.1
• Guided reading group:
authorial and narrative
voice (linked to Mumpo)
7.2
Chapter 10
• Group task: use of
commentary in narrative
writing (Note: opportunity
for guided writing) 6.1
Development
Chapter 8
• Group task: the theme of
vision in The Wind Singer
5.1
• Guided reading group:
narrative style (visualisation
of old children) 5.2 5.3
Homework
Read Chapter 15.
Plenary
Each group to share one
example of how the
author has created mood
in Chapter 14.
Homework
Read Chapter 12.
Plenary
Share definitions of
narrative/authorial voice.
Plenary
Pupils take a piece of
narrative writing they have
previously done and discuss
with a partner how they
would change it in the light
of today’s lesson.
Plenary and Homework
Plenary
How might planning
formats be used in the
future to support reading?
(Relate to Y8 objective
R10 Development of
key ideas)
5:07 pm
reading
• R13 Interpret
a text
reading
• Wr5
Narrative
commentary
• R4 Versatile
Reading strategy focus
• Summarise
• Interpret patterns
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6
Lesson Objectives
5
• R4 Versatile
(includes
reading
guided
• R10
session)
Development
of key ideas
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• Wr5
• R4 Versatile
11
12
reading
• S10 Informal
to formal
• S&L11
Building on
others’ ideas
Narrative
commentary
• Wr6
Figurative
language
• Re-read/reinterpret
• Summarise
• Pass judgements
• Infer and deduce
• Visualise
• Empathise
Chapter 21
Informal to formal
• Group task: how has the
• Pupils take informal spoken statements and change
author engaged the
them to formal.
reader? (Formal oral
• Active and passive voice: changing news headlines
response) 12.1
from passive to active and exploring the effect.
• Investigate the use of the passive in hiding the agent
through sentences.
• Explore stylistic differences between tabloid/broadsheets.
• Compare various texts about the same topic, e.g. a place,
and investigate the differences at word/sentence level.
Homework
Read Chapter 22.
Homework
Read Chapter 21.
Plenary
Write the formal essay
question for the group task.
How different is the spoken
discourse from the written
discourse, if they were asked
to write a formal essay?
Plenary
Envoy activity: a
representative travels to
other groups to share work.
Plenary
Where else could a graphic
organiser be useful?
Homework
Read Chapter 17.
Plenary and Homework
Plenary
One group to share their
work.
5:07 pm
• Interpret patterns
• Ask questions
• R5 Trace
10
Starter/Introduction (see www.longman.co.uk)
Development
Semantic field of filming; names of camera angles, Chapter 16
storyboarding, sound effects, etc.
• Cinematic response 9.1
• Activate prior knowledge: books transposed to film.
Which was the most successful?
• Card sort activity: matching camera shots to pictures.
• Watching short clip of film with different soundtracks
and exploring the effect.
• Pupils identify and bullet point the key moments in
Chapter 16.
Chapters 18–19
Narrative structure
• Response partners: pupils explore the range of narrative • Group task: track the two
narrative threads, using
structures with which they are familiar (e.g. sequential,
appropriate graphic
flashback, flash forward, parallel narratives).
organiser. Write in key events
Pupils
create
graphic
organisers
to
reflect
a
variety
of
•
and themes. How are they
structures.
coming together? 10.1
Chapter 20
Key features of descriptive texts
• Group task: drawing links
• Model the reading of the extract from Chapter 20,
between reading and
focusing on description and use of commentary.
writing – creating a sense of
Response
partners:
brainstorm
key
features
of
•
place (descriptive writing)
descriptive texts on whiteboards.
(Note: opportunity for
• Lexical density: changing a verb and adverb into a
guided writing) 11.1
stronger verb.
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developments
• R10
Development
of key ideas
Objectives
Reading strategy focus
• Summarise
• R8
Transposition • Interpret patterns
• Wr8
• Ask questions
Experiment
with
conventions
Lesson
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8
Plenary
What makes an effective
ending?
Homework
Read Chapter 23.
Plenary and Homework
Plenary
List the criteria for
successful, formal
presentation. How many of
these did each group fulfil?
5:07 pm
• Re-read/reinterpret
• Summarise
• Pass judgements
• R10
14
(includes
guided
session)
Starter/Introduction (see www.longman.co.uk)
Development
Criteria for success
Presentations
• Brainstorm what makes a good, formal presentation. • Groups present work
• Watch oral moderation videos and ask pupils to decide
which were the most effective.
• Model a formal presentation.
• Ask pupils to reflect on each other’s oral work completed
in pairs (one good point, one point for development).
• Provide a bank of examples of the type of formal
discourse required. This could link to key phrases used
in formal essays.
Endings and how they link back to the beginning
Chapter 24
• Card sort: matching endings to beginnings and
• Group task: how effective
exploring the links.
is the ending? Reflection
on development of pupils’
• Matching endings to genre.
reading skills 14.1
• Pupils swap books that they have each read. Read the
opening and predict the ending. Swap with partner to • Guided reading group:
endings and resolutions
test accuracy.
14.2
• Explore the derivation of the word ‘denouement’ and
how it applies to plots (French – denouer: to untie,
Latin – nodus: a knot).
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Development
of key ideas
• R12
Independent
reading
Objectives
Reading strategy focus
• S&L3 Formal
presentation
• S12 Degrees
of formality
Lesson
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Group worksheet
2.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks
• read Chapters 1, 2 and 3.
Now you are going to explore the opening to The Wind Singer and its
effectiveness.
Objectives
• R5 Trace the development of themes, values or ideas in the text
• R7 Identify the ways that implied and explicit meanings are conveyed
in different texts, e.g. irony, satire.
Group reading
Reading journals
Re-read Chapter 3.
1 Write a paragraph that
sums up the way your
group thought the writer
‘hooked’ the reader.
Group task
1 In pairs, recap the main events of the first three chapters.
2 Divide yourselves into two groups of three. In your group,
identify which narrative hooks the author has used to
engage the reader with the book.
3 Share your findings with each other. Remember to support
your ideas with evidence from the first three chapters.
4 Still working in threes, one group should work on
character and the other on setting. You are going to focus
on explicit and implicit meanings, so make sure that you
understand what each of these words mean. Under your
focus (character or setting), make a list of four things that
you know to be based on fact and support this with
evidence from the first three chapters.
2 Which reading strategies
did you use today?
Remember to use the
reading strategy checklist
(pages 310–312 of the
reader) to prompt you.
Homework
Read Chapter 4 by next
lesson.
5 Now find four things that are implied and write the supporting
evidence for this. You may find a table like the one below
useful, where some examples have been done for you.
Character Explicit
Bowman
Evidence Implicit
Evidence
He is
‘He cried
emotional. too easily.’
Ira Hath
She feels protective ‘My baby,’ she
towards Pinpin.
said. ‘My baby.’
Setting
Aramanth
It is secure. ‘It was
enclosed
by high
walls’
The lower down
the scale you are,
the worse your
living conditions.
Pages 24
and 25
© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.
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Guided session planner
2.2
Teaching objectives
• R5 Trace the development of themes, values or ideas in the text
• R7 Identify the ways that implied and explicit meanings are conveyed in different
texts, e.g. irony, satire.
Focus
• Chapter 3 (pages 24–36)
• The author’s use of irony.
Introduction to text
Clarify objectives.
Teaching group
Strategy check
Teacher distributes reading strategies and discusses expectations for developing
active reading skills. Pupils are asked to remember and explain/illustrate
appropriate strategies that they have used recently. The focus should then
move to inference and deduction. These are essential skills for engaging with,
and enjoying, texts and for achieving the higher levels.
Guided group
Independent reading and related task
Pupils should be reminded of the sentence on page 24: ‘Every citizen of
Amaranth knew how fortunate they were, to live in this rare haven of peace,
plenty, and equal opportunity for all.’ Pupils should understand what is meant
by the word irony. The focus of this task is for pupils to explore how the
author creates a sense of irony. Pupils skim read pages 27–36 independently.
Return to text: developing response
Teacher and pupils focus on pages 27–36. What evidence is there in this
chapter to suggest that Amaranth is not a ‘rare haven of peace, plenty, and
equal opportunity for all’? Teacher models reading the extract beginning ‘The
main street to the centre …’ to ‘“Shut up,” said Kestrel.’ making the reading
process explicit and pulling out responses as it is read, through text marking
(see Annotated text 2.3).
In pairs and following the teacher’s example, pupils continue to read.
Pair A should read to ‘“But I’m still hungry.”’ on page 30.
Pair B from ‘Out of the College of Examiners …’ on page 32 to ‘“WON’T
MAKE TOMORROW-OW-OW BETTER THAN TODAY-AY-AY.”’ on page 33.
Pair C from ‘Maslo Inch drew a long breath …’ on page 34 to ‘“Captain, clear
the arena.”’ on page 36.
It is important that they text mark as they read, so that textual evidence is identified
to support their ideas. The teacher listens, as support, guiding where appropriate.
Review (reading target/next steps)
Pupils share findings with each other. They should focus on what they have learnt
and support it with textual evidence. The teacher should guide the discussion
towards the use of inference and deduction and relate this to the author’s use of
irony, asking pupils how the author has manipulated the reader’s response Finally,
pupils can discuss which reading strategies they have used during this session.
Pupils can make brief notes in their journal to record ideas. Set the next task –
reading homework (Chapter 4).
10
Evaluation
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2.3
Community
organised into
identifiable
groups of people.
Suggests control
Use of repetition
to mirror
movements
No separate
sense of identity.
All are doing the
same thing
Everybody has
lunch at the same
time
This shows how
desperate he is to
do something
Again – he wrongfoots the reader
Things aren’t
equal. By
implication he
isn’t all right
Everything is not
well in Amaranth
Sense of
pointlessness to
his task
He’s worried – not
fitting into the
routine of having
lunch when
everyone else is
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Chapter 3: pages 27–28
The main street to the centre led past the courtyard of
the Weavers’ Company, where, because it was lunch-time,
all the weavers were out in the yard doing their exercises.
‘Touch the ground! Touch the sky!’ called out their
trainer. ‘You can do it! If you try!’
The weavers bent and stretched, bent and stretched,
in time with each other.
A little further on they came upon a street-cleaner sitting
by his barrow eating his midday meal.
‘I don’t suppose you’ve got any litter you’d care to
drop?’ he asked them.
The children searched their pockets. Bowman found a
piece of charred toast that he’d put there so as not to hurt
his mother’s feelings.
‘Just drop it in the street,’ said the street-cleaner, his eyes
brightening.
‘I’ll put it in your barrow,’ said Bowman.
‘That’s right, do my job for me,’ said the street-cleaner
bitterly. ‘Don’t you worry about how I’m to meet my
target, let alone exceed it, if nobody ever drops any litter in
the street. Don’t ask yourself how I’m supposed to get
along, you’re from Orange, you’re all right. It doesn’t
occur to you that I want to better myself, same as everyone
else. You try living in Grey District. My wife has set her
heart on one of those apartments in Maroon, with the little
balconies.’
Bowman dropped his piece of toast on to the street.
‘Well, there you are,’ said the street-cleaner. ‘I may just
look at it for a while, before I sweep it up.’
Kestrel was already far ahead, with Mumpo trailing after
her. Bowman ran to catch them up.
‘When are we going to have lunch?’ said Mumpo.
‘Shut up,’ said Kestrel.
© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.
Subordinate
clause embedded
in middle of
sentence for
emphasis.
Suggests routine –
this is what always
happens at
lunch-time
Chanting – ritual
Catches the
reader by
surprise. Not a
usual request!
Desperate to
please
Strong adverb.
This is picked up
in the sarcastic
tone of the next
sentence
Not only does he
have to meet
targets, his wife
also puts him
under pressure.
This does not
sound like a place
of plenty, peace
and equal
opportunity for all
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Group worksheet
3.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character and setting.
Now you are going to explore how the writer uses setting to enhance
character.
Objectives
• R5 Trace the development of themes, values or ideas in the text
• R7 Identify the ways implied and explicit meanings are conveyed in
different texts, e.g. irony, satire.
Group reading
Reading journals
Read Chapter 5.
1 Write down your list
of key points from
question 6.
Group task
1 In pairs, recap the main events of Chapter 4.
2 Focus now on Chapter 5. As a whole group, write down
key words that you think describe the Chief Examiner’s
character.
3 Divide yourselves into pairs and then divide the chapter
into three sections (about 3/4 pages each) so that each
pair has a section of text to work on. In your pairs discuss
the following: How does the writer portray the power of
the Chief Examiner?
2 Which reading strategies
did you use today?
Remember to use the
reading strategy checklist
(pages 310–312 of the
reader) to prompt you.
Homework
You could look at the use of:
•
•
•
•
his physical presence
his surroundings
his mannerisms
the language he uses and the language that is used to
describe him
• how the other characters relate to him.
You may be able to text mark your passages to help you.
4 Feedback to each other. Remember to support your ideas
with evidence from the extracts that you have read.
5 Finally, as a whole group, discuss how much of the
information that you are given about Maslo Inch is implied
and how much of it is explicit. Find examples of each.
12
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Guided session planner
3.2
Teaching objectives
•
•
R4 Review their developing skills as active, critical readers who search for meaning
using a range of reading strategies
R5 Trace the development of themes, values or ideas in the text
Focus
• Chapter 5
• How does the author create a sense of power?
Introduction to text
Clarify objectives.
Teaching group
Strategy check
Teacher distributes reading strategies and discusses expectations for developing
active reading skills. Pupils are asked to remember and explain/illustrate
appropriate strategies that they have used recently. The focus should then
move to inference and deduction. These are essential skills for engaging with,
and enjoying, texts and for achieving the higher levels.
Guided group
Independent reading and related task
The focus of this session is for pupils to explore how the author portrays the
power of the Chief Examiner. Pupils read Chapter 5 independently. It may be
necessary to skim read, ask a pupil who has read it to recap, or divide the
chapter into sections for each pupil to read.
Return to text: developing response
Teacher and pupils focus on pages 44–45. Teacher models reading these two
pages in response to the focus, making the reading process explicit and pulling
out responses as it is read, through text marking (see Annotated text 3.3).
In pairs and following the teacher’s example, pupils continue to explore the
remainder of the chapter. The chapter should be divided into sections and
each pair given a section to annotate. It is important that they text mark as
they read, so that textual evidence is identified to support their ideas. The
teacher listens, as support, guiding where appropriate.
Each pair should report back, using an OHT to present their findings. The
discussion could be developed further, with the idea that themes (in this case,
power) can become more than an issue in a novel. In The Wind Singer, power
is represented as having a value (e.g. it is shown as being destructive). How
does the author create this sense of value? Can pupils think of other books
where power has a value attached?
Evaluation
Review (reading target/next steps)
They should focus on what they have learnt and support it with textual
evidence. The teacher should guide the discussion towards the use of
inference and deduction, asking pupils how the author has manipulated the
reader’s response towards the Chief Examiner. How could they use this in their
own writing? Finally, pupils can discuss which reading strategies they have
used during this session.
Pupils can make brief notes in their journal to record ideas.
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Chapter 5: pages 44–45
An order – no
sense of choice.
Suggests law
Main clause
comes first, so
that the action is
front-loaded to
engage reader
The Chief
Examiner has
minions to do his
work
Her sense of
powerlessness
highlights the
power of the
Chief Examiner
Adjectives
suggest presence,
grandeur, status
Repetition of
high and grand
for emphasis
You notice the
smile second –
clothes first
Capitals for
emphasis
Impersonal
address
14
A warning from the Chief Examiner
The summons came early, while they were still at breakfast.
The doorbell rang, and there outside was a messenger from the
College of Examiners. The Chief Examiner wished to see
Hanno Hath at once, together with his daughter Kestrel.
Hanno rose to his feet.
‘Come on, Kess. Let’s get it over with.’
Kestrel stayed at the table, her expression showing
stubborn resistance.
‘We don’t have to go.’
‘If we don’t, they’ll send marshals to fetch us.’
Kestrel stood up slowly, staring with extreme hostility at
the messenger.
‘Do what you like to me,’ she said. ‘I don’t care.’
‘Me?’ said the messenger, aggrieved. ‘What’s it got to do
with me? All I do is carry messages. You think anyone ever
explains them to me?’
‘You don’t have to do it.’
‘Oh, don’t I? We live in Grey District, we do. You try sharing
a toilet with six families. You try living with a sick wife and two
thumping great lads in one room. Oh no, I’ll do my job all right,
and more, and one fine day, they’ll move us up to Maroon, and
that’ll do me nicely, than you very much.’
Maslo Inch was waiting in his spacious office, sitting at his
broad desk. He rose to his full imposing height as Hanno and
Kestrel entered, and to their surprise, greeted them with a smile,
in his high grand way. Coming out from behind the fortress
desk, he shook their hands, and invited them to sit down with
him in the circle of high grand chairs.
‘Your father and I used to play together when we were
your age,’ he told Kestrel. ‘We sat together in class, too, for a
while. Remember, Hanno?’
‘Yes,’ said Hanno. ‘I remember.’
He remembered how Maslo Inch had been so much bigger
than the rest of them, and had made them kneel before him.
But he said nothing about that. He just wanted to get the
interview over with as soon as possible. Maslo Inch’s white
clothes were so very white that it was hard to look at him for
long; that, and his smile.
‘I’m going to tell you something that may surprise you,’ the
Chief Examiner said to Kestrel. ‘Your father used to be cleverer
than me at school.’
‘That doesn’t surprise me,’ said Kestrel.
‘Doesn’t it?’ said Maslo Inch evenly. ‘Then why am I
Chief Examiner of Aramanth, while your father is a subdistrict librarian?’
‘Because he doesn’t like exams,’ said Kestrel. ‘He likes
books.’
Hanno Hath saw a shadow of irritation pass across the
Chief Examiner’s face.
‘We know this is about what happened yesterday,’ he said
quietly. ‘Say what you have to say.’
3.3
Use of capitals to
emphasise
importance
Title suggests
somebody
impersonal
An order
Suggests he is a
nobody
Use of pronoun
highlights ‘them
and us’ feeling
Formal greeting
Verb used as an
imperative, not a
request
Hanno’s
memories are not
pleasant. Lack of
trust is portrayed
Suggests he is
consciously
having to control
the way he is
speaking
Tries to outwit
Kestrel
Not totally in
control of his
feelings
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Group worksheet
4.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting and mood and how to
create mind-maps.
Now you will have a go at mind-mapping to begin to draw links between
the characters, the plots and the themes that are emerging. You will need
some large sheets of sugar paper and marker pens for this task.
Objectives
• R5 Trace the development of themes, values or ideas in the text
• Wr3 Use writing for thinking and learning by recording ideas as they
develop to aid problem solving and reflection.
Group reading
Reading journals
Read Chapters 6 and 7.
1 Write a paragraph about
what you discovered in
today’s lesson.
Group task
1 In pairs, recap the main events of the story so far.
2 Create an appropriate graphic organiser that reflects the
narrative structure of The Wind Singer. How many plots
do you think there are? What are they? Plot in the key
events that have happened so far.
2 Which reading strategies
did you use today?
Remember to use the
reading strategy checklist
(pages 310–312 of the
reader) to prompt you.
3 Now mind-map the characters. You can either:
– map in the characters, linking them to the key events, or
– you can create another mind-map for the characters.
If you do this you will probably need to agree a starting point
as a group. For example, you could put Kestrel, Bowman and
Mumpo in the centre as they are the main protagonists.
Remember to indicate the relationships between the
characters by using key words and visual aids. Discuss how
you will illustrate the more complicated relationships, for
example between Mumpo and Kestrel. Remember to include
characters that may not seem important at the moment. You
will revisit this later on and may want to adapt it.
Homework
Read Chapters 8–9.
4 The next focus is on the emerging themes. In your group,
agree what you think the emerging themes are and then
map these into your plot and character mind-maps.
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Group worksheet
5.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, how the writer creates setting, the
relationships between the characters, the plots and the themes, and
how to create mind-maps.
Now you will look at the themes in more depth.
Objectives
• R4 Review their developing skills as active, critical readers who search
for meaning using a range of reading strategies
• R10 Analyse the overall structure of the text to identify how key
ideas are developed, e.g. through the organisation of the content
and the patterns of language used.
Group reading
Reading journals
Skim read Chapters 8 and 9.
1 What have you learnt
about the way the themes
and the characters are
linked? Make a few brief
notes about the themes
and the way the characters
relate to them. Make sure
that the vision chart is in
your journal – you will
revisit this later.
Group task
1 What has happened in the story since you last met?
2 Revisit your list of emerging themes in the story. Look
closely at Chapter 8. Most of the key themes can be
identified in this chapter. Ask your teacher for a copy of
Chapter 8, cut up into paragraph segments. Write the
themes as headings and then place the paragraphs under
the relevant headings. In what ways do these paragraphs
contribute to the themes that you have identified?
3 Now you are going to focus on one theme in depth: vision.
Brainstorm the types of vision that you have come across
so far. Then think of examples and relate them to
characters. You may find this grid useful.
Types of
vision
Explanation
Example
Character
A limited vision – when you
can’t/won’t see beyond your
nose. You have a narrow
viewpoint and a closed mind.
Prophetic An ability to see into the
Ira Hath
future
Hidden
Reading other
people’s thoughts
Revealed
Fearful
Blinkered
16
2 Which reading strategies
did you use today?
Remember to use the
reading strategy checklist
(pages 310–312 of the
reader) to prompt you.
Homework
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Guided session planner
5.2
Teaching objectives
• R4 Review their developing skills as active, critical readers who search for meaning
•
using a range of reading strategies
R10 Analyse the overall structure of the text to identify how key ideas are
developed, e.g. through the organisation of the content and the patterns
of language used.
Focus
• Chapter 9
• Author’s use of description.
Introduction to text
Clarify objectives.
Teaching group
Strategy check
Teacher distributes reading strategies and discusses expectations for developing
active reading skills. Pupils are asked to remember and explain/illustrate
appropriate strategies that they have used recently.
Independent reading and related task
Guided group
Pupils re-read pages 91–94. The focus of this session is for pupils to explore
the way in which the author helps the reader to visualise the old children. As
they read, pupils should jot down which reading strategies are being called
into use. They could do this with annotation, or the use of Post-it notes.
Return to text: developing response
Teacher and pupils focus on pages 91–92. Teacher models reading the extract
beginning ‘“Home,” said a deep voice …’ to ‘The white-haired child smiled.’
making the reading process explicit and pulling out responses as it is read,
through text marking (see Annotated text 5.3).
In threes and focusing on word and sentence level features, pupils should
explore how the author has helped the reader to visualise the old children, and
how the pace is controlled.
It is important that they text mark as they read, so that textual evidence is
identified to support their ideas. The teacher listens, as support, guiding where
appropriate.
In pairs, pupils should consider how the old children link to the emerging
themes in the story. They should also make a note about when they appear in
the story. This will be referred to again in another lesson.
Evaluation
Review (reading target/next steps)
Pupils share findings with each other. They should focus on what they have
learnt and support it with textual evidence. The teacher should guide the
discussion towards the use of the reading strategies used, asking pupils how
the author has manipulated the reader’s response towards the old children.
Pupils can make brief notes in their journal to record ideas.
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Chapter 9: pages 91–92
Lots of long
vowel sounds –
suggests echoing,
booming voice.
Also slows the
pace – long
drawn out sounds
Again long vowel
sounds and
repetition make it
slow and sound
echoing
Lots of assonance
to keep the pace
slow
Note adjectives –
lexical field of old
age
Two simple
sentences add to
the tension.
Again, appeals to
sense of sound
18
Then for the first time they heard a sound that was watery,
but not made by water. It was some way behind them, and it
was unmistakable: splosh, splosh, splosh. Someone was
following them.
They hurried on faster. The water was deeper now, and
pulled at their legs. There was a glow of faint light ahead,
and a thundery sound. Behind them they could still hear the
steady footfall of their pursuer.
All at once the tunnel emerged into a long cave, through
the middle of which ran a fast-flowing river. The light which
faintly illuminated the glistening cave walls came from a low
wide hole at the far end, through which the river plunged out
of sight. The tunnel water now drained away to join the river,
and they found themselves on a smooth bank of dry rock.
Almost at once, Bowman felt something terrible, very
close by.
‘We can’t stop here,’ he said. ‘We must go, quickly.’
‘Home,’ said a deep voice. ‘Go home.’
Kestrel jumped, and looked into the darkness.
‘Bo? Was that you?’
‘No,’ said Bowman, trembling violently. ‘There’s
someone else here.’
‘Just a friend,’ said the deep voice. ‘A friend in need.’
‘Where are you?’ said Kestrel. ‘I can’t see you.’
In answer, there came the hiss of a match being struck,
and then a bright arc of flame as a burning torch curved
through the air to land on the ground a few feet away from
them. It lay there, hissing and crackling, throwing out a
circle of amber light. Out of the darkness beyond, into the
soft fringe of its glow, stepped a small figure with white hair.
He walked with the slow steps of a little old man, but as he
came closer to the flickering light they saw that he was a boy
of about their own age: only his hair was completely white,
and his skin was dry and wrinkly. He stood there gazing
steadily at them, and then he spoke.
‘You can see me now.’
It was the deep voice they had heard before, the voice of
an old man. The effect of this worn and husky voice coming
from the child’s body was peculiarly frightening.
‘The old children,’ said Kestrel. ‘The ones I saw before.’
‘We were so looking forward to having you join our
class,’ said the white-haired child. ‘But all’s well that ends
well, as they say. Follow me, and I’ll lead you back.’
‘We’re not going back,’ said Kestrel.
‘Not going back?’ The soothing voice made her defiance
sound childish. ‘Don’t you understand? Without my help,
you’ll never find the way out of here. You will die here.’
There was a sound of laughter in the darkness. The whitehaired child smiled.
5.3
She can’t see who
said it. Makes the
reader tense
Appeals to
senses of sound
and sight
Non-finite verbs
make it seem as
if it is happening
now
Long, complex,
rambling
sentences
highlight slow
movement of the
old child
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Annotated text
6.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting and mood, themes and
how to create mind-maps.
Now you are going to explore the use of commentary in narrative writing.
Objectives
• R4 Review their developing skills as active, critical readers who search
for meaning using a range of reading strategies
• Wr5 Develop the use of commentary and description in narrative,
e.g. by addressing the reader directly.
Group reading
Reading journals
Read Chapter 10.
What have you learnt
about using a narrative
voice that is separate from
the perspective of the
main character? Write two
bullet points to pin down
your thinking.
Group task
When you write, you should always keep your reader in your
mind, so that you are ‘writing the reading’. You can control
your use of language so that it can impact on the reader.
There are two ways that the author does this in Chapter 10.
1 In pairs, look at pages 96–98 and the sentences written in
italics. Why are they written in italics? What is the effect
of these sentences on you, the reader?
Homework
2 Now look at page 99, from ‘Not so far off …’ to the end
of the paragraph. What happens to the narrative voice in
this paragraph? What is the effect on you, the reader?
When you have completed this part of the task, discuss, as
a group, whether your ideas agree.
3 Now work in threes. You may want to use whiteboards for
this task. Look at page 101 and the two paragraphs that
begin ‘It was pure chance …‘ to ‘… the mudman hadn’t
found them.’ Rewrite these paragraphs, using direct
address to the reader and thoughts expressed aloud.
4 Share your work with each other. How has this changed
the impact on the reader? When could you use similar
techniques in your own writing?
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Group worksheet
7.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting and mood, themes and
how to create mind-maps.
Now you are going to think about the author’s voice and narrative voice.
Objectives
• R4 Review their developing skills as active, critical readers who search
for meaning using a range of reading strategies
• R13 Read a substantial text, revising and refining interpretations of
subject matter, style and technique.
Group reading
Reading journals
Read Chapter 11.
1 Write down the
definitions.
Group task
2 When you continue to
read, note down any
other moments when you
‘hear’ the author’s voice.
1 Work in pairs and write definitions of the following:
Pair A – narrative voice; Pair B – first/third person;
Pair C – authorial voice.
Share your definitions. Do you agree?
2 Now move to working in two groups of three. You may
find it easier to text mark this task.
Group A (pages 112–115): identify narrative voice and
find examples. To help you:
Homework
Read Chapter 12.
• What is the narrative voice telling us about the mudpeople?
• Note three things about them and support with examples.
• What are the key words used to describe the
mudpeople and their surroundings?
Group B: identify authorial voice and find examples. You
will need to draw contrasts within the book.
• How do the mudpeople contrast with those of Aramanth?
• How was Mumpo described in Chapter 2? Re-read
pages 119–121. How is he described now?
3 Now work as a whole group and discuss the following:
• How do we know when the author is speaking?
• What are the methods used by the author to speak to
the reader?
• What is the author telling the reader and how does this
link to the themes?
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Guided session planner
7.2
Teaching objectives
• R4 Review their developing skills as active, critical readers who search for meaning
•
using a range of reading strategies
R13 Read a substantial text, revising and refining interpretations of subject
matter, style and technique.
Focus
• Chapter 11
• Authorial and narrative voice.
Introduction to text
Clarify objectives.
Teaching group
Strategy check
Teacher distributes reading strategies and discusses expectations for developing
active reading skills. Pupils are asked to remember and explain/illustrate
appropriate strategies that they have used recently. The focus should then
move to inference and deduction.
Guided group
Independent reading and related task
Pupils should recap Chapter 11 in detail. This could include skim-reading the
chapter. They should then work in pairs and be asked to write a definition of:
Pair A – narrative voice; Pair B – first/third person; Pair C – authorial voice.
Return to text: developing response
Focus on pages 112–115. In threes, pupils should explore the narrative voice.
• What is the narrative voice telling the reader about the mudpeople? Write
down three things about them and support with examples. What are the
key words used to describe the mudpeople and their surroundings? (E.g.
words to do with light, song, laughter, working together)
• Now pupils should think about the authorial voice. To do this they will need
to draw contrasts within the book. How do the mudpeople contrast with
those of Amaranth? How was Mumpo described in Chapter 2? Pupils
should re-read pages 119–121. How is Mumpo described now?
• What does this tell the reader about the two societies? Given that
Amaranth prides itself on equal opportunities, how is this ironic?
Review (reading target/next steps)
Pupils should share what they have found, explaining their examples. The
teacher should ask:
1 How do we know when it is the author speaking?
2 What are the methods that the author has used to speak to the reader?
3 Can you think of other moments in the book when the author has
been speaking?
4 What is the author telling the reader and how does this link to the themes?
Evaluation
Pupils should review the objective. How are they able to tell whether it is the
character or the author speaking? Can they think of any other books they
have read recently when they have ‘heard’ the author’s voice?
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Group worksheet
8.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting, themes and how to
create mind-maps
• looked at the differences between the voices in the story.
Now you will be exploring how the language is used to create pace
and mood. You will need sugar paper and pens.
Objectives
• R10 Analyse the overall structure of the text to identify how key
ideas are developed, e.g. through the organisation of the content
and the patterns of language used
• Wr17 Integrate evidence into writing to support analysis or
conclusions, e.g. data, quotation.
Group reading
Reading journals
Read Chapters 13 and 14.
In pairs, write a brief
paragraph into your journal
about how the author
controls the pace and
mood in the scene that you
have chosen. Remember to
use evidence from the text
to support your ideas.
Group task
1 Focus on Chapter 14. Plot the main events on to your
large sheet of paper as a timeline.
2 Divide your group into pairs. Each pair should choose one
event. Explore the ways in which the author controls the
pace and mood of the scene. You should look at:
• the balance of dialogue and description
• the use of exclamations, questions and unfinished
sentences
• the variety of sentence length
• the way the author uses our senses
• the weather and the environment.
Homework
Read Chapter 15.
3 Work as one group. Write key points above the event on
your timeline, and then write the supporting evidence
underneath. For example:
Weather changes, increasing sense of isolation
Finding the wagon and storm
The wind grew stronger, lifting more sand into
the air, dulling the brightness of the sky
4 How does the pace change during the chapter and how
does this connect with the levels of tension? What
happens to the language at word and sentence level?
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Guided session planner
8.2
Teaching objectives
• R5 Trace the development of themes, values or ideas in the text
• Wr17 Integrate evidence into writing to support analysis or conclusions, e.g.
data, quotation
Focus
• Chapter 14
• Narrative style at word, sentence and text level.
Introduction to text
Clarify objectives.
Teaching group
Strategy check
Teacher distributes reading strategies and discusses expectations for developing
active reading skills. Pupils are asked to remember and explain/illustrate
appropriate strategies that they have used recently. The focus should then
move to inference and deduction. These are essential skills for engaging with,
and enjoying, texts and for achieving the higher levels.
Guided group
Independent reading and related task
Pupils read Chapter 14. It may be necessary to skim read, ask a pupil who has
already read it to recap, or divide the chapter up for the group to read sections
in pairs and then recap. How does the author create the sense of unease?
How does the author control the pace in this chapter? Pupils should focus on
the sense of unease and the pace as they read, noting their responses.
Return to text: developing response
The teacher should model an example of close reading, focusing on the way
the author has used language to enhance meaning, annotating at word and
sentence level pages 143 and 144 (from ‘As the children made their way …’
to ‘… to take shelter.’).
In threes, pupils should then take another extract from this chapter and
annotate in the same way. They should also explore:
• the mix of dialogue and description, and how the author shifts between
the two
• how the structure of this chapter adds to the pace and the sense of unease.
The teacher listens, as support, guiding when appropriate.
Review (reading target/next steps)
Evaluation
One pair should feedback, using an OHT to show their findings. To consolidate
their learning, pupils should write a paragraph in their journals, explaining how
the author has used language to create a sense of unease and the methods
used to control the pace. They can construct this paragraph in pairs. Read
Chapter 15 for homework.
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Chapter 14: pages 143–144
Begins with a
co-ordinating
conjunction,
which is repeated
throughout the
sentence to
emphasis the
growing faintness
Lots of long,
complex and
compound
sentences that
reflect their long
journey
Action is frontloaded to move
the plot along
Light is fading
now
24
As the children made their way out of the mouth of the
salt cave and up on to the dusty plains, the song of the
mudpeople followed them, warm and loving like the burrows
in which they slept. And then it came fainter on the breeze,
and fainter, until at last they could hear the song no more,
and they knew they were alone.
After the protective shadows of the Underlake, the plains
across which they now walked seemed to be without limits.
Only to the north, far far away, could they make out the pale
grey line of the mountains. Then as the sun climbed higher,
the heat haze rising up from the baked earth melted the
horizon into the sky, sealing them in a featureless shimmering
world in which they were the only living creatures. For a little
while they could see, if they turned their heads, the long dark
mouth of the cave out of which they had come, but then that
too was swallowed up by the dusty air and the distance, and
they were without any sense of direction at all.
They tramped northward, in what they supposed was a
straight line, hoping to come upon some signs of the high
road called the Great Way. The wind was picking up,
skittering the sand, making the land shiver. Bowman and
Kestrel didn’t speak, but they could sense each other’s
anxiety. Mumpo alone was without a care, as he followed
behind Kestrel, planting his feet in her footsteps, calling out,
‘I’m like you, Kess! We’re the same!’
The wind grew stronger, lifting more sand into the air,
dulling the brightness of the sky. Walking became difficult,
because the sand stung their faces, and they had to twist their
heads away from the wind. Then through the blurred air ahead
of them there loomed a low square structure, like a hut without
a roof, and they turned their steps towards it to take shelter.
Close up against it, the saw that it was some kind of
wagon, lying on its side. Its axles were broken, and its wheels
lay half-buried. Sand had piled up against the windward side,
but on the lee there was a protected space where they could
huddle out of the wind. Here they untied their nut-socks, and
ate a much-needed lunch of roasted mudnuts.
The smoky taste brought back images of the harvest, and the
cheery faces of the mudpeople, and made them wish they were
back in the comfortable burrows of the Underlake. While the
wind remained so strong there was no point in struggling on,
so Kestrel took out the map and she and Bowman studied it.
There were no landmarks in the desert, only the position of
the sun in the sky to tell them where north was, and perhaps a
distant sight of the mountains; but somehow they must find
the Great Way, or what was left of it.
‘The Old Queen said it had giants.’
‘That was long ago. There aren’t any giants nowadays.’
‘We’d better just keep going north. As soon as the storm
passes.’
8.3
Paragraph moves
from feeling
loved and cared
for to being
alone. The silence
emphasises this
Use of temporal
connectives to
mirror time
passing – after,
then, for a little
while, but then
Shows sense of
doubt
Use of non-finite
verbs makes it
seem immediate
The weather is
mirroring the
change in their
fortunes –
pathetic fallacy
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Group worksheet
9.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting and mood, themes and
how to create mind-maps
• looked at the differences between the voices in the story.
Now you are going to consider the effect of transposing a section of
the text into different media.
Objectives
• R8 Investigate how meanings are changed when information is
presented in different forms or transposed into different media
• Wr8 Develop an imaginative or unusual treatment of familiar
material or established conventions.
Group reading
Reading journals
Read Chapter 16.
Ask your teacher for a copy
of the annotated text and
stick this into your book,
along with any notes that
you may have made to
support your screenplay.
Group task
1 This chapter is one of the most cinematic chapters in the
book. Look at the section beginning ‘In the corvette, racing
at giddy speed …‘ on page 186 to ‘A wild, stamping roar
went up from all Ombaraka.’ (page 188). Read this section
twice, each time thinking about the following:
• where the scene is set
• dialogue
• where you would
• who is in the scene
• movement
• special effects.
Homework
Read Chapter 17.
place the camera
2 In pairs, imagine that you are writing the screenplay. Write
directions at important points in the extract about:
•
•
•
•
music and sound effects • setting
lighting
• camera angles
dialogue
• body language
facial expression.
3 Discuss in your group, how difficult it is to successfully
transpose from one medium to another. Think of another
book that you have read, that you then saw as a film.
How faithful to the original text was it, and did it live up
to your expectations? Which did you prefer – the film or
the book?
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Group worksheet
10.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting, themes and how to
create mind-maps
• looked at the differences between the voices in the story.
Now you will be thinking about how the main ideas are developed. You
may want to refer to the mind-maps that you completed in lesson 4.
Objectives
• R5 Trace the development of themes, values or ideas in the text
• R10 Analyse the overall structure of the text to identify how key
ideas are developed, e.g. through the organisation of the content
and the patterns of language used.
Group reading
Reading journals
Read Chapters 18 and 19.
In pairs, write a brief
paragraph in your journal
about how the author has
structured the novel. What
are the reading strategies
that you have used in
today’s lesson? Remember
to use the reading strategy
checklist (pages 310–312
of the reader) to prompt
you.
Group task
1 There are two narratives running through this story. In
your group, agree on the two plots. What planning format
(e.g. sequential/chronological) would be appropriate to
‘chart’ the development of these plots?
2 When you have agreed on the above, then you can begin!
On a large sheet of paper, chart the two plots, drawing as
many links as you can between them. Include characters,
key events and themes.
3 Look for patterns in the way that the author has
structured the story. For example, look closely at the
chapters immediately after the story has shifted back to
Aramanth. What happens to the children? Why do you
think the author has structured the story in this way?
What does this suggest to you about the old children?
Homework
.
4 In pairs, revisit your ‘vision chart’ from lesson 5. Add to
this, now that you have read much further on.
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Group worksheet
11.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting and mood, narrative
style, themes and how to create mind-maps
• looked at the differences between the voices in the story
• analysed the structure of the text, as a whole and within chapters.
In lessons 3, 6 and 8, you looked closely at the way language is used.
Now you are going to draw upon what you have learned in your
reading and use it in your writing.
Objectives
• Wr5 Develop the use of commentary and description in narrative,
e.g. by addressing the reader directly
• Wr6 Experiment with figurative language in conveying a sense of
character and setting.
Group reading
Reading journals
Read Chapter 20.
1 Make sure that your
paragraph is written in
your journal.
Group task
1 Chapter 20 contains some very descriptive passages. On
your own, choose one and re-read it.
2 As a group, note down the key features of effective
description. Remember to think about word and sentence
level features. You may want to look back at the work
that you did in lessons 3, 6 and 8.
3 Now move into pairs. With your partner, write one
paragraph of description of a place that you know well.
You will find it easier to do if you write from your
experience. When you have finished, share it with the rest
of the group.
2 Write a sentence about
how your reading of
description has
influenced your
descriptive writing.
Homework
Read Chapter 21.
4 Make suggestions about how you could improve upon
each other’s writing and amend as appropriate.
5 How many of the features that you learned about in your
reading, have you used in your writing?
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Group worksheet
12.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting and mood, themes and
how to create mind-maps
• looked at the differences between the voices in the story
• analysed the structure of the story
• written descriptively.
Now you are going to deepen your response to one of the chapters
and prepare a formal talk about it.
Objective
• S&L11 Recognise and build on other people’s contributions.
Group reading
Reading journals
Re-read Chapter 21.
Stick the notes made to
support your presentation
into your journal.
Group task
1 Focus on Chapter 21. Discuss the following as a whole
group. One of you should take notes of your discussion.
Do not spend too long on this part of the task. In what
ways does Chapter 21 engage the reader? Break this
daunting question into sections. You may like to divide the
sections between you and then report back, before
preparing your talk. Think about:
Homework
Read Chapter 22.
• characters – what do we learn about them in this chapter?
• plot – how is the action sustained and how does it
move the story forward?
• themes – how are the themes continued to be developed?
• narrative style – what techniques has the author used
to keep us reading?
• what questions do we have at the end of the chapter?
2 Using the notes taken from your discussion, prepare a
formal oral presentation to your class about Chapter 21.
End your presentation with a personal response, saying
how effective this chapter is. Remember – use standard
English and ‘talk like a book’. Use phrases and words that
you would use if this was going to be a formal written
response. And do not forget to support your ideas with
evidence from the chapter.
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Group worksheet
14.1
Context
As a whole group we have:
• revised the range of reading strategies open to you
• explored narrative hooks, character, setting and mood, themes and
how to create mind-maps
•
•
•
•
looked at the differences between the voices in the story
analysed the structure of the story
written descriptively
prepared and presented an oral assignment.
Now we have arrived at the end! How well have we been prepared
for this moment?
Objectives
• R10 Analyse the overall structure of the text to identify how key
ideas are developed, e.g. through the organisation of the content
and the patterns of language used
• R12 Record the development of their independent reading, and
identify ways of increasing its scope and challenge.
Group reading
Reading journals
Read Chapter 24.
Consider your personal
response to this story.
Write two sentences. The
first should describe what
your response to this book
is. In the second, you
should reflect on your
reading skills during this
unit of work. Which
strategies have you used
and which strategies do
you think you have
developed in this unit?
Group task
1 In a group, discuss the questions that you wrote in your
journals in lesson 1. Were your questions answered? What
questions do you still have?
2 In pairs, choose two of the following characters: Mumpo,
Kestrel, Bowman, Hanno, Ira and Maslo Inch. Now discuss
the following:
• How are they described at the beginning of the novel?
• Is this an accurate description of them at the end of
the novel?
• How have they changed and which were the key events
that have changed them?
You may want to refer to your responses, your notes and
your mind-maps that you have worked on over this unit.
Homework
3 Feedback to each other. Which character do you feel most
empathy for?
4 Now think about the plot. How does the plot come full
circle? How does the final chapter link to the
introduction? Is this a satisfactory ending to the story?
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Guided session planner
14.2
Teaching objectives
• R10 Analyse the overall structure of the text to identify how key ideas are
•
developed, e.g. through the organisation of the content and the patterns
of language used
R12 Record the development of their independent reading, and identify ways of
increasing its scope and challenge.
Focus
• Chapter 24
• Endings and resolutions.
Introduction to text
Clarify objectives. Pupils recap the story so far – key plot events and characters,
themes and their development, personal responses.
Teaching group
Strategy check
Teacher distributes reading strategies and discusses expectations for developing
active reading skills. Pupils are asked to remember and explain/illustrate
appropriate strategies that they have used recently.
Guided group
Independent reading and related task
Pupils read Chapter 24. They should revisit the questions that were written in
their reading journals in lesson 1. Were their questions answered? What
questions do they still have? How does the ending link with the introduction
‘Long ago’?
Return to text: developing response
In pairs, pupils should choose two of the following characters: Mumpo,
Kestrel, Bowman, Hanno, Ira and Maslo Inch.
– How are they described at the beginning of the novel?
– Is this an accurate description of them at the end of the novel?
– Which events in the story have changed their characters?
The teacher should lead the discussion initially, and then hand over to the
pupils. Pupils should be reminded to support their ideas with textual evidence.
Pupils should look back at their notes made about the narrative structure of
the story (their graphic organisers).
The teacher should introduce the idea of a journey being a metaphor for a life,
such as because we are moving through time, we learn from our experiences
as we ‘travel’. Questioning should be deepened further:
• Do you think that the children’s journey could be described as a metaphor?
• Do the other characters learn and therefore grow from their experiences?
• Which character did the pupils feel the most empathy for?
Review (reading target/next steps)
How effective is the ending of the story?
Pupils should consider which reading strategies they have used in this session,
and which strategies they think they have developed over this unit.
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Reading strategies
See images
• Have a picture of the characters, the settings and the action in
✁
your head. What do you see while you read?
Hear a reading
voice
• Ask others about their mental pictures and tell them about
yours. Are they the same?
• As you read, think about whose voice you are hearing and
how it changes through the story.
• Think about how the central characters sound and the noises
of all the action. What can you hear while you read?
Predict what will
happen
• What do you think will happen next?
• Share your predictions with others and see whether you agree
or not.
Speculate
• What do you think will happen in the end? Think of as many
different possibilities as you can.
• Share your speculations with others and see whether you
agree or not.
Ask questions
• Ask yourself questions all the time: who, why, what, where,
when, how? Why do the characters do what they do? Why
did that event happen and why did it happen in that way?
• Ask yourself why the author has written the text in this way.
What is the significance of the details the author includes? Do
the details mean something?
Pass comments
• Share your opinion of the characters, the settings and the
action with others. Do you like them? If not, why not?
Feel
• Try and feel what the characters are feeling in the situation
that they are in. What do you want to happen to them?
• What feelings does the author want you to have about the
characters and what is happening? Does she/he want you to
be excited, scared, happy?
Empathise
• Imagine you are in the same situation as the characters. What
would you do? How would you feel?
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Rationalise what
is happening
• Think logically about the characters, what they do and
Re-read
• Read your favourite parts again. Can you spot anything new
what happens to them. Does everything make sense?
If not, why not?
that you didn’t see before?
Reinterpret
• As you read, consider how your ideas about the text are
changing. Do you feel and think the same as you did at
the beginning?
Interpret
patterns
• Think about how the characters are linked. What are the
similarities and differences between them? Can you group some
of them together? And if so, what does each group represent?
• Think about how the events are linked. Do they happen at
random or are they leading to a particular event or climax?
Relate to your
own experience
• Does this remind you of anything you have done in your life
Pass judgements
• Share your opinions about what you read with others. Do you
or anything that you have seen or read? How?
think it is good or bad? Why?
32
Relate to
previous reading
experience
• Compare what you are reading with other texts that you have
Establish a
relationship with
the narrator
• Think about the narrator. Do you like her/him? What would
Establish a
relationship
with the author
• Can you hear the author’s voice? What do you think the
read. In what way is it similar or different to other texts that
you have read?
you say to her/him if she/he were in the room now?
author is trying to say to you? Why has the author bothered
to sit down and write this book?
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