Tanbridge House School
Whole-School
Communication
Policy
‘…..every teacher is a teacher of English because every teacher is a teacher in
English.’ George Sampson 1922*
Sarah Powell 2013-14
TANBRIDGE HOUSE SCHOOL
Whole School Communication Policy
Contents
Equal Opportunities …………………………………………………………………………………….
3
The Learning Resources Centre……………………………………………………………………
4
‘Improving Reading’…………………………………………………………………………………….
5
Withdrawal and Support……………………………………………………………………………….
6
Inclusion Interventions………………………………………………………………………………….
8
Differentiation……………………………………………………………………………………………….
9
Supporting the Reading of Texts………………………………………………………………..
11
Supporting Writing……………………………………………………………………………………….
13
Basic Grammar……………………………………………………………………………………………..
18
Supporting Spelling………………………………………………………………………………………
21
Marking/Formative Assessment……………………………………………………………………
29
Supporting Handwriting……………………………………………………………………………….
31
Supporting Speaking and Listening……………………………………………………………….
32
Discrete Literacy Lessons……………………………………………………………............
32
Summary of good Literacy Practice……………………………………………………………..
33
Understanding Corrections …………………………………………………………………………..
34
Staff……………………………………………………………………………………………………………….
35
Appendix A ……………………………………………………………………………………………………
36
Appendix B…………………………………………………………………………………………………….
47
2
TANBRIDGE HOUSE SCHOOL
Whole School Communication Policy
EQUAL OPPORTUNITIES
Governors and staff at Tanbridge House School endorse the principle of equal
opportunities in all areas of pastoral and curricular provision. All staff at Tanbridge
assist in promoting Literacy across the school through lesson content and by
reviewing students’ work and setting whole school Literacy Targets, monitored at
Academic Mentoring Day by tutors. The Inclusion Department work with students
who have weak literacy skills, specifically those working at a National Curriculum
Level 2 on entry into Year 7, and our new Literacy Plus scheme works with
students attaining a National Curriculum Level (NC) 3 on entry. Students with
Special Educational Needs (SEN) are catered for with Individual Education Plans
(IEP) and one to one Literacy support is provided by English and Inclusion staff. All
departments deliver subject specific literacy tasks and all students receive
strategic literacy support in the form of Assessment Focus (AF) driven literacy
starter activities in English lessons.
In addition to the more formal methods of teaching reading, writing, grammar, and
spelling, language and communication skills are taught within a variety of
curricular contexts by meaningful and relevant activities. We seek to ensure that
Tanbridge students become literate and that they enjoy language and
communication in all their forms. Specifically structured lessons and courses of
study with explicit references to the areas of Speaking and Listening, Reading,
Writing and emotional literacy enhance a student's ability to read, write, speak,
listen, communicate and comprehend and will raise achievement across the
curriculum.
Regular scrutiny of students’ work is used to identify target priorities for a whole
school focus and target posters are displayed around the school to ensure
consistency and co-ordination of whole school literacy needs. Students are also
encouraged to promote the development of their personal literacy by setting a
regular literacy target and proving an improvement in this across their subject
areas.
All students have access to the Learning Resources Centre. We aim to select nonsexist, non-racist books and to have fair regard for boys and girls whatever their
ethnic, cultural and religious background.
AIMS:
a. Tanbridge House School aims to contribute towards the development of good
communication skills and a level of literacy that enables students to:
•
communicate effectively in their curriculum areas so they can achieve or
exceed their potential
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understand spelling systems and use them to spell and read accurately;
have fluent and legible handwriting;
have an interest in 'printed words' and their meanings;
have a growing vocabulary that can be used to aid their comprehension
and expression, e.g. when trying to understand and discuss their own and
others' reading and writing;
have growing powers of imagination, creativity and critical awareness;
enjoy reading and writing and to exhibit confidence, fluency, and
comprehension;
monitor their own reading and correct their mistakes;
be able to plan, draft, revise and edit their own writing;
be able to write about a range of texts or events exhibiting a sound
knowledge and an ability to evaluate and justify their preferences;
know about the ways in which texts are structured;
know about and be able to write in, a range of genres and level of
formality.
b. To support the Whole School's move towards more interactive teaching with
whole classes and groups.
c. To support the Whole School's management of literacy through target setting
linked to systematic action planning, monitoring and evaluation.
d. To help the school to regularly audit its provision for literacy.
THE LEARNING RESOURCES CENTRE
Mr Ben Baker
The LRC is pivotal in supporting the whole school literacy programme and is used
frequently when project or research work is undertaken; our LRC Manager
regularly requests book and resource lists from departments in order to plan and
support these research activities. Links between the LRC and the English
Department, enable access to a wider range of literacy input. The LRC offers the
following activities to support Whole School Literacy:
 ‘Reading Matters’: All Key Stage 3 students are invited to the LRC on a
fortnightly basis. Our LRC Manager begins each session by introducing
students to books linked by specific themes; students are then given the
opportunity to read any book of their choice.
 Reading Challenge: All students in Year 7 and 8 also have the opportunity to
participate in the Reading Challenge through the LRC. They have to read a
range of books across different genres to progress through the levels and
can earn certificates and badges to reward their efforts.
 Reading Groups: Year 7 students track the West Sussex Children’s Book
Award, working with link primary schools, Year 8 are participating in the
South Coast Schools Amazing Book Awards, Year 9 shadow the Carnegie
Medal and Year 10 and 11 students have the opportunity to read and discuss
a range of adult fiction to extend their literacy skills.
 Visiting Writers: We have a wide variety of visiting writers who give
inspiring talks to students and offer writing workshops.
 Cross Curricular Events: The LRC acts as a focal point for cross-curricular
literacy activities, for example students this year will have the opportunity
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to study the poetry of Blake and respond through Art, Music, Drama and
their own creative writing.
 Use of technology: The LRC also utilises a range of technology to promote
and develop student Literacy. For example there are six iPads available in
the LRC allowing students access to a wide range of eBook content. The
Library computer system is also being upgraded to Eclipse which will enable
students to develop both their information literacy skills as well as
extending their reading for pleasure, through recommendations and student
reviews.
 World Book Day: The LRC works with students on Literacy based quizzes
and activities as well as revealing the winners for the range of book awards
announced annually on this day.
 Reading Friends: Year 10 students mentor targeted Year 7 students who
have a reading age of between 8 and 9.11 years. The scheme is designed to
help boost students’ confidence and interest in reading. See ‘INCLUSION’
 Recommended Reading Lists: are available on Moodle for each Key Stage 3
year group – these are grouped according to level of reader’s confidence.
IMPROVING READING
‘The more you read, the more things you will know. The more you learn, the more
places you’ll go.’ Dr Seuss
Tanbridge House is involved in the ‘Improving Reading’ initiative.
AIMS:
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To promote an engaging, enriching and exciting reading culture in the
school
To review and revise the English department’s approaches to the teaching
and learning of reading
To develop reading skills in the classroom
The initiative promotes understanding of the fact that reading can change lives:
‘Finding ways to engage students in reading may be one of the most effective
ways to leverage social change’
‘Reading for pleasure is more important to a child’s educational achievements
than their family’s wealth or social class’
(Reading for Change, OECD, 2002)
A recent study by the National Literacy Trust found many children who define
themselves as non-readers actually read a variety of materials outside school, but
feel that their chosen reading materials are not encouraged by teachers
A READING CULTURE BEYOND THE ENGLISH CLASSROOM
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What I’m reading posters on classroom and office doors around the school
Whole School STOP, DROP and READ
Reading in tutor time
Readathon
Get caught reading
Book awards/passports/certificates
NLT website ‘Reading Connects’ and ‘Reading Champions’
http://www.literacytrust.org.uk
Displays and posters around the school
Encourage the reading of newspapers
www.thenewspaper.org.uk
‘Gotta Keep Reading’
http://www.youtube.com/watch?v=x6D9jiEYxzs
KEY LEAFLETS
http://nationalstrategies.standards.dcsf.gov.uk/node/256298
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Teaching the class novel
Promoting enthusiasm for reading
Reading at GCSE
Reading for real, purposeful and relevant contexts
Teaching struggling readers
Reading poetry
Reading playscripts
Reading non-fiction
FURTHER RESOURCES
http://nationalstrategies.standards.dcsf.gov.uk/node/431567
Reading CD and key leaflets
 Guided reading
 Modelled and shared reading
 Leadership and management in guided reading
 Assessment and guided reading
Ofsted guidance:
Good
‘They enjoy reading beyond school and can talk with interest about favourite
texts and authors’
Outstanding
‘They are very keen readers beyond school’
WITHDRAWAL AND SUPPORT
INCLUSION
If any student has, or is believed to have special needs with respect to reading,
writing, spelling, numeric or general comprehension then the Inclusion Department
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will be contacted and requested to take appropriate steps to offer support.
Literacy specific input includes group, pair work and one to one support with all
areas of reading, writing, spelling and speaking and listening, the provision of laptops and scribes for exams and handwriting practice.
LITERACY PLUS
Mrs Ashcroft
The National Strategies Secondary Key Stage 3 Literacy Plus initiative has recently
been integrated into our curriculum (2009). Literacy Plus is a programme for use
with students entering secondary school with lower than average levels of literacy
– who are likely to have been assessed as NC Level 3 in reading and/or writing in
the NC test at the end of Key Stage 2. The aims of Literacy Plus are:
 to strengthen essential literacy skills in the context of engaging extracurricular units of work that interest and motivate students
 move students quickly from Level 3 to Level 4 in English and improve their
chances of making two level of progress in Key Stage 3 – leading to Level 5
attainment in Year 9 and a C grade at GCSE
 to help students reach Level 1 standard of Functional English
 to raise students’ attainment in other subjects that depend on literacy skills
 to strengthen the confidence and effectiveness of learners so they can
acquire transferable skills and work with greater independence
ONE TO ONE
Mrs Ashcroft
A pre-agreed number of students are entitled to one to one support from a
qualified English teacher. The aims of One to One are to:
 provide ten hours one to one literacy support per year for each student
identified as being unlikely to make 2 levels of progress – regardless of
current level of achievement
 use high quality resources available through the National Strategies website
that interest and motivate students
 to improve numeracy skills through specific intervention from the
Mathematics Department
GIFTED STUDENTS
Miss Rosemary Booker
To ensure that students who have been designated as 'gifted' as identified in the
whole school Gifted and Talented register are appropriately challenged, teachers
frequently differentiate the scale and extent of tasks with which they are
presented – for example students leading class discussion or Interactive
Whiteboard activities, weak/strong pairings and peer assessment. ‘Gifted’
students are encouraged to read, write and talk about their work and to engage in
discussions and work with similarly 'gifted' students from this School and others in
the locality or further afield. Our new Gifted and Talented programme also offers
poetry and writing trips and an after school club to gifted students to further
enrich their experiences.
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LANGUAGE PROVISION WITH MULTICULTURAL STUDENTS
The majority of students in the school for whom English is their 'second language',
quickly attain a level of understanding and a degree of fluency that make normal
classroom communication possible through a variety of techniques recognised by
EAL teachers. For example: total immersion, use of image, sound and gesture and
identification of key words and basic vocabulary required for task.
INCLUSION INTERVENTIONS
Mrs Hawes, Mrs O’Connel, Mrs Bearryman
Read Write Inc – Ruth Miskin Literacy Programme
In withdrawal lessons with Year 7 and 8 students (six lessons across two weeks) we
are piloting the use of a new synthetic phonics based literacy programme called
‘Read Write Inc’. The programme has been specifically developed to help students
who are working below Level 4 on entry to secondary school and who struggle with
reading and writing, including those with dyslexia. Students progress through
modules based around a central, phonically graded text, each with a strong
emphasis on phonic skills practice and also comprehension spelling and writing
activities as well as reading. It is a fun, pacy and carefully structured multisensory programme which utilises active and peer learning styles to the maximum.
READING CATCH UP
This programme is designed for students whose reading age is below 9 years on
entry to secondary school. Students have two half hour sessions over two weeks. It
is an individual programme which is run by our Senior Literacy TA’s. It gives
intensive reading, comprehension and vocabulary practice to students who require
this level of help.
ASDAN ENGLISH LANGUAGE SHORT COURSE YEAR 9
This Course is being used with students in Year 9 who are withdrawn from MFL.
Most students have six lessons over two weeks. The aim of the course is to build on
literacy skills developed in Years 7 and 8 but also to move towards preparation for
GCSE English activities and to develop Key Skills such as working with others,
communication, ICT and independent working skills. This course can be used as
part accreditation towards the ASDAN CoPE qualification, which gives 2 GCSE
equivalents at Key Stage 4.
READING FRIENDS
‘Reading Friends’ is an initiative which has been running for five years. Year 10
students have volunteered to mentor targeted Year 7 students who have a reading
age of between 8 and 9.11 years. The scheme is designed to help boost students’
confidence and interest in reading. They will receive a £10 book token for attendance at
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all ten sessions. Initially, twenty one students are taking part in the ‘Reading
Friends’ scheme in the LRC every Thursday tutor time.
SPELLING
Key stage 3 students, Year 7 in particular, who have low spelling ages are offered a
range of support through:
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Reading/LRC sessions
English lessons – literacy/spelling starter activities
Literacy plus (English Department)
One to One (English Department)
Inclusion one to one spelling support using PAT (phonological training
programme) for those identified with very low spelling ages
HANDWRITING
Advice is given on pens and hand grip to help improve this skill. Handwriting
difficulties and habits are usually well entrenched and difficult to alter by
secondary age but there are handwriting exercises on the VLE for students to
download and work on with parents at home. Students can be referred to the
occupational therapist if necessary. Net books are available for students with
extremely poor handwriting and/or Specific Learning Difficulties (e.g. dyslexia)
and fine motor skills difficulties. The school has twenty Netbooks which are lent
out on a yearly basis (£50 deposit).
EXAMINATION CONCESSIONS
Students with low reading and spelling scores and/or poor handwriting and/or
dyslexia needs, can be assessed for ‘access arrangements,’ leading to exam
concessions. These could include extra-time (up to 25%), reader, scribe and the
use of a lap-top during examinations.
TESTING READING AND SPELLING
Students on any of the literacy programmes are tested once a term to track
progress.
DIFFERENTIATION
Through: method of delivery, level of support, expected outcomes, planning, aims,
starter lines, writing frames, key words, cloze exercises, groupings – weak/strong
pairings, talking partners, Assessment Focuses and levels and specific language
use:
RECEPTIVE LANGUAGE
1. Gain a student’s attention before speaking to them
2. Reduce longer pieces of information to smaller ‘chunks’
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3. Be aware of the vocabulary you are using; consider changing a word to make
the meaning simpler
4. Be aware of the grammatical structure you use; consider simplifying the
sentence to aid understanding
5. Use visual support (facial expressions, hand gestures, real objects, the
whiteboard, story frameworks, vocabulary grids) to reinforce verbal
language – particularly helpful with students with EAL
6. If there is a sequence of instructions to follow, give them in chronological
order with a visual prompt – such as counting them off on your fingers
7. Encourage students to use strategies to process information such as
repeating back what they have to do/silent rehearsal of instruction
8. Encourage students to seek clarification e.g. asking for repetition,
explanation of key words, or saying they don’t understand
9. Avoid using sarcasm and explain metaphors as these styles of language can
be difficult
10. Teach visualisation strategies to aid processing and recall of spoken
information
EXPRESSIVE LANGUAGE
1. Ask open questions to encourage longer responses (who, what, where, why,
when, how?)
2. Give the student time to plan a response and say what they mean
3. Avoid finishing the sentence for them – if the response is incomplete, repeat
back what was said and encourage the student to finish the sentence
themselves
4. Provide good language models – repeat back what the student has said
clearly and correctly
5. Encourage students to take responsibility for their own language and explain
when others are confused
6. Teach grammatical rules such as irregular past tense verbs (won not winned)
passive tense and connectives which are often difficult for students with
language delay
7. Provide opportunities for verbal discussion before written work e.g. talking
partners
8. Provide structures for organising written language e.g. narrative
frameworks, task report grids
9. If a student cannot think of a word, give prompts e.g. ‘Tell me something
about it.’ ‘Where do you find it?’
10. Remember difficulties with spoken language will be reflected in written
language – don’t expect a students to write sentences they cannot say
SOCIAL COMMUNICATION SKILLS
1. Encourage eye contact; students should always turn to face the speaker
2. Develop Active Listening; encourage students to ask for repetition or
clarification and praise them for using this strategy
3. Be clear in your communication: avoid the use of sarcasm and explain
common idioms such as ‘get a move on’
4. Use visual timetables, timelines, and task lists to reinforce verbal
instructions
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5. Develop students’ emotional literacy and the vocabulary of emotions. For
example, use opportunities to discuss emotions of characters in texts
6. Encourage balanced turn-taking in conversation i.e. not dominating the
discussion or interrupting others
7. Encourage students to stay on the relevant topic and give explicit feedback
if they introduce irrelevant themes
8. Model appropriate non-verbal communication, such as posture and facial
expressions
9. Give feedback if students speak inappropriately e.g. too loudly or fast, or
too informally
10. Be aware that poor behaviour may sometimes be due to poor understanding
of social expectations
SUPPORTING THE READING OF TEXTS
Mr Holmes: Assessing Pupil Progress (APP)
AIMS:
to develop a framework for a more systematic approach to using texts
effectively;
to encourage a reflective and lively response from the children to texts.
READING ASSESSMENT FOCUSES:
Reading Assessment Focus (RAF) grids are used to teach and assess reading. These
are separated into the use of different strategies and outline assessment criteria
for different National Curriculum Levels at Key Stage 3. They enable students to
understand exactly which NC level they are working at and what their strengths
and targets are within a particular sub-level. They are used as a strategic tool to
inform planning focused on areas of weakness at a whole class, small group and
individual level. At Key Stage 4, these are translated into Assessment Objectives
specific to the GCSE syllabus.
RAF2:
RAF3:
RAF4:
RAF5:
RAF6:
RAF7:
Finding evidence in a text, using quotations to support points
Reading between the lines looking for implied meaning
Interpreting reasons for and effects of the structure of a text
Appreciating reasons for and effects of specific language use
Understanding the writer’s purpose and viewpoint
Evaluating how a text relates to its social, historical and cultural context
Within this framework, students are encouraged to:
 question
 predict
 visualise
 read backwards and forwards looking for contextual knowledge
 infer and deduce
 sound out words using phonics
 use graphical knowledge – recognising word families
 use grammatical knowledge – think about what kind of word would make
sense
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SKIMMING
Skimming is a reading technique that can help you to:
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read more quickly
decide if the text is interesting and whether you should read it in more
detail
Skimming is a fast reading technique. Use it to obtain the gist of a piece of text
(i.e. to quickly identify the main ideas in the text). Don't read the whole text
word-for-word. Use as many clues as possible to give you some background
information. There might be pictures or images related to the topic, or an eyecatching title. Let your eyes skim over the surface of the text and, whilst thinking
about any clues you have found about the subject, look out for key words.
1. Read the title, subtitles and subheading to find out what the text is about.
2. Look at the illustrations to give you further information about the topic.
3. Read the first and last sentence of each paragraph.
4. Don't read every word or every sentence. Let you eyes skim over the text,
taking in key words.
5. Continue to think about the meaning of the text.
SCANNING
Scanning is a fast reading technique. It's a way of reading to look for specific
information in a text. Scanning is useful when studying, revising or looking to find
specific information from a book or article quickly.
1. Don't try to read every word. Instead let your eyes move quickly across
the page until you find what you are looking for.
2. Use clues on the page, such as headings and titles, to help you.
3. In a dictionary or phone book, use the 'header' words to help you scan.
You can find these in bold type at the top of each page.
4. If you are reading for study, start by thinking up or writing down some
questions that you want to answer. Doing this can focus your mind and
help you find the facts or information that you need more easily.
5. Many texts use A-Z order. These include everyday materials such as the
phone book and indexes to books and catalogues.
6. There are many ways to practise scanning skills. Try looking up a
favourite recipe in the index of a cookbook, search for a plumber in your
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local Yellow Pages, or scan web pages on the Internet to find specific
information.
USEFUL ACTIVITIES
(a)
Underlining and labelling diagrams:
enables students to identify key words and ideas from texts;
(b) Sequencing:
focuses attention on logical order of a text
helps to focus attention on syntactical (grammatical) cues.
(c)
Completion of 'Cloze' word exercises/sentences:
requires careful consideration when making deletions and additions
it is essential that this activity includes discussion.
(d)
Diagrammatic models:
bring out aspects of texts not apparent in other readings of texts, e.g.
reading between and beyond the lines.
Spider-diagrams, flow charts and mind maps can form a useful basis for
summary and revision purposes.
(e) Prediction of text:
focuses attention on logical order of a text
gives students opportunities to actively analyse the stages and relate them to
each other
students are encouraged to justify their responses and challenge the
responses of others.
(f)
Word games - can be in the form of word-searches, anagrams or crosswords
with associated activities.
(g)
Question and answer activities - to include multiple choice and associated
discussion.
(h)
Writing captions 'speech balloons' - avoids rigid grammatically structured
writing.
(i)
True versus false sentences.
(j)
Reorganise mixed up sentences and match sentence halves.
(k)
Substitution of words and phrases.
SUPPORTING WRITING
AIMS:
to develop a framework for a more systematic approach to writing fluent, high
impact texts for a range of purposes and audiences
to write creative and imaginative texts
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WRITING ASSESSMENT FOCUSES:
Writing Assessment Focus (WAF) grids are used to teach and assess writing. These
are separated into the use of different strategies and outline assessment criteria
for different National Curriculum Levels at Key Stage 3. They enable students to
understand exactly which NC level they are working at and what their strengths
and targets are within a particular sub-level. At Key Stage 4, these are translated
into Assessment Objectives specific to the GCSE syllabus.
WAF1: to be imaginative and creative
WAF2: to adapt style to suit audience and purpose
WAF3: to organise writing clearly
WAF4: to use paragraphs accurately and to aid meaning
WAF5: to use a range of sentence structures
WAF6: to use the full range of punctuation
WAF7: to use varied and imaginative vocabulary
WAF8: to use accurate spelling
Within this framework, students are encouraged to:
 Write for a variety of purposes and audiences, in a range of formats and
with varying degrees of formality, for example:
FORMAL ESSAY:
Short, formal essays are typically formatted into five paragraphs: an introduction,
three body paragraphs, and a conclusion.
Paragraph
Paragraph
Paragraph
Paragraph
Paragraph
1:
2:
3:
4:
5:
Introduction
Body
Body
Body
Conclusion
Avoid using the first person or referring directly to the reader in a formal essay.
Use standard English, no slang or contractions, e.g. it is not it’s. If informal
language is used, it should be contained within quotation marks
1. Spiderdiagram the ideas you want to convey in your essay, and outline the five
paragraphs before you start actually writing. Make sure you have a clear, concise
focus to your essay (thesis statement) this is normally the essay question.
2. Write the introduction (never start with ‘In this essay I’m going to write
about…..’) being careful not to make it too wordy, although you can include brief
relevant background details, for example, about the author if you are studying a
text. The introduction should typically be around four sentences, and should end
with your thesis statement (focus/subject you are exploring) as its last sentence.
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3. Write three body paragraphs, each focusing on a major supporting point for your
thesis. These paragraphs should be longer than the introductory paragraph, and
each paragraph should begin with one of the major supporting points, then
elaborate on that point. Include quotations to support your points. Quotations of
two lines or less should be contained within quotation marks; longer quotations
should be indented, may be in italics, and do not require quotations marks:
Main body of text
…………………………………………………………………………………………………………………………………
Quotation…………………………………………………………………….
…………………………………………………………………………………….
………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………..
4. Integrate transitions between the body paragraphs, so that the last sentence of
one paragraph flows into the beginning of the next paragraph. For example ... (last
sentence) Giving birth is undoubtedly a process that requires an immense pain
threshold. (next paragraph) Despite the pain involved in giving birth, it is
indubitably an amazing experience.
5. End with a short conclusion paragraph that both sums up and expands upon the
main points of the essay. Your conclusion should succinctly summarise the
arguments you made, and relate them to broader issues. For example, if you are
analysing themes in a particular piece of fiction, you can relate those themes to
the author, his contemporaries, his time period, or even modern times. This makes
the essay feel more significant, since it shows how your topic fits within a wider
context. Never use "in conclusion" in your final paragraph. You can give your
personal opinion here if appropriate.
6. Proofread your essay to make sure there are no grammatical or spelling errors.
Don't rely on spell-check programmes, because they won't catch common errors
such as using "it's" when you mean "its."
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FORMAL LETTER:
Rules for Writing Formal Letters in English
In English there are a number of conventions that should be used when writing a
formal or business letter. Furthermore, you try to write as simply and as clearly as
possible, and not to make the letter longer than necessary. Remember not to use
informal language like contractions.
Addresses:
1) Your Address (sender)
The sender’s address should be written in the top right-hand corner of the letter.
2) The Address of the person you are writing to (recipient)
The recipient’s address should be written on the left, starting below your address.
Date:
Different people put the date on different sides of the page. You can write this on
the right or the left on the line after the address you are writing to. Write the
month as a word.
Salutation or greeting:
1) Dear Sir or Madam,
If you do not know the name of the person you are writing to, use this. It is always
advisable to try to find out a name.
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2) Dear Mr Jenkins,
If you know the name, use the title (Mr, Mrs, Miss or Ms, Dr, etc.) and the surname
only. If you are writing to a woman and do not know if she uses Mrs or Miss, you
can use Ms, which is for married and single women.
Ending a letter:
1) Yours faithfully
If you do not know the name of the person, end the letter this way.
2) Yours sincerely
If you know the name of the person, end the letter this way.
3) Your signature
Sign your name, then print it underneath the signature. If you think the person you
are writing to might not know whether you are male or female, put your title in
brackets after your name.
Content of a Formal Letter
First paragraph
The first paragraph should be short and state the purpose of the letter- to make an
enquiry, complain, request something, etc.
The paragraph or paragraphs in the middle of the letter should contain the
relevant information behind the writing of the letter. Most letters in English are
not very long, so keep the information to the essentials and concentrate on
organising it in a clear and logical manner rather than expanding too much.
Last Paragraph
The last paragraph of a formal letter should state what action you expect the
recipient to take- to refund, send you information, etc.
Abbreviations Used in Letter Writing
The following abbreviations are widely used in letters:
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





asap = as soon as possible
cc = carbon copy (when you send a copy of a letter to more than one
person, you use this abbreviation to let them know)
enc. = enclosure (when you include other papers with your letter)
pp = per procurationem (A Latin phrase meaning that you are signing the
letter on somebody else's behalf; if they are not there to sign it themselves,
etc)
ps = postscript (when you want to add something after you've finished and
signed it)
pto (informal) = please turn over (to make sure that the other person knows
the letter continues on the other side of the page)
RSVP = please reply
17
Outline: A Covering Letter
A covering letter is the one that accompanies your CV when you are applying for a
job. Here is a fairly conventional plan for the layout of the paragraphs.
Opening Paragraph
Briefly identify yourself and the position you are applying for. Add how you found
out about the vacancy.
Paragraph 2
Give the reasons why you are interested in working for the company and why you
wish to be considered for that particular post. State your relevant qualifications
and experience, as well as your personal qualities that make you a suitable
candidate.
Paragraph 3
Inform them that you have enclosed your current CV and add any further
information that you think could help your case.
Closing Paragraph
Give your availability for interview, thank them for their consideration, restate
your interest and close the letter.
Outline: A Letter of Enquiry
A letter of enquiry is when you are approaching a company speculatively, that is
you are making an approach without their having advertised or announced a
vacancy.
Opening Paragraph
Introduce yourself briefly and give your reason for writing. Let them know of the
kind of position you are seeking, why you are interested and how you heard about
them.
Paragraph 2
Show why their company in particular interests you, mention your qualifications
and experience along with any further details that might make them interested in
seeing you.
Paragraph 3
Refer to your enclosed CV and draw their attention to any particularly important
points you would like them to focus on in it.
Closing Paragraph
Thank them, explain your availability for interview and restate your enthusiasm for
their company and desire to be considered for posts that might as yet be
unavailable.
BASIC GRAMMAR
There are three basic forms of a verb: past, simple present and past participle.
Sometimes the present participle is included as well. The present consists of a
18
verb or the verb plus a helping verb (run, is running, can run). The past is generally
formed by adding-d or –ed and can also be used with helping verbs (walk: walked,
might have walked). Many verbs, however, have non standard forms. They are
known as irregular verbs:
Present
Lay (an egg)
Lie (down)
sit
go
fall
choose
stink
Past
laid
lay
sat
went
fell
chose
stank
Past participle
laid
lain
sat
gone
fallen
chosen
stunk
Present participle
Laying
Lying
Sitting
Going
Falling
Choosing
Stinking
Would you like to come to dinner with Susan and me?
Susan and I went to the pub
(remove the other person and see if the sentence makes sense)
Should
Would
Could
Have:
Regular
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












have (not of)
a bath, a shower, a drink e.t.c. (not take)
= even, not normal
Noun: names a person, animal, place, thing or an abstract idea:
Proper noun: takes a capital letter
Common noun: doesn’t take a capital letter
Collective noun: describes a group – for example a ‘parliament’ of owls, a
‘murder’ of crows
Countable noun: may be counted ‘one year’ , ‘a sandwich’
Non-countable noun: may not be counted, ‘some sugar’
Abstract noun: thoughts and feelings you can’t see, touch or hear:
‘happiness’, ‘love’, ‘beauty’
Concrete noun: things you can see, touch and hear that are tangible
‘brick’, ‘book’
Adjective: adds detail to (describes) a noun ‘pink hat’
Comparative adjective: compares one thing to another ‘my car is faster
than yours’
Superlative adjective: emphasises an extreme ‘my car is fastest’
Verb: expresses actions, events or states of being
Adverb: describes a verb, indicating manner, time and place ‘he shouted
ferociously’
Preposition: shows spatial (position) or temporal (time) relationship, ‘he sat
opposite me’, TIME: ‘on’ for a single day, ‘on my birthday’, ‘at’ for slightly
longer periods, ‘at the weekend’, ‘at Christmas’, ‘during’ for longer periods
of time, ‘during the Middle Ages, ’during the holidays’
Use devices specific to writing type – for example writing to argue may
incorporate any of the following: rhetorical questions, evidence to support
the argument: statistics, surveys, personal evidence, humour, anecdote,
repetition, groups of three – for example, ’I was shocked, horrified and
appalled!’, acknowledges the counter argument in order to deconstruct it.
19
We also teach writing to: persuade, advise, describe, explain, inform,
entertain – for features of these writing types see Appendix A
 Use descriptive language to appeal to the senses and create
effect/atmosphere
 Use thesaurus to find vivid and unusual vocabulary
 Experiment with devices and imagery, for example:
 Simile: Figure of speech involving a comparison between two unlike
entities. In a simile, unlike a metaphor, the resemblance is indicated by the
words "like" or "as." Similes in everyday speech reflect simple comparisons,
as in "He eats like a bird" or "She is slow as molasses."
 Metaphor: A figure of speech in which a word or phrase that ordinarily
designates one thing is used to designate another, thus making an implicit
comparison, as in "a sea of troubles" or "All the world's a stage"
(Shakespeare).
 Alliteration: Series of words that begin with the same consonant or sound
alike, helps writing to flow
 Sibilance: Repetition of letter 's', (form of alliteration which creates a
calming effect)
 Assonance: Repetition of internal vowel sounds, most commonly within a
short passage of verse (e.g. knife, alive)
 Consonance: characterized by the repetition of the same consonant two or
more times in short succession, as in "pitter patter"
 Onomatopoeia: Word that imitates a real sound (e.g. tick-tock or boom)
 Personification: A figure of speech in which inanimate objects or
abstractions are endowed with human qualities or are represented as
possessing human form, as in Hunger sat shivering on the road or Flowers
danced about the lawn, often used in horror genre
 Anthropomorphism: As above but endowing animals with human
characteristics, often used in children’s writing
 Oxymoron: Using two terms together, that normally contradict each other
e.g. deafening silence
 Rhetorical question: Asking a question as a way of asserting something. Or
asking a question not for the sake of getting an answer but for asserting
something (or as in a poem for creating a poetic effect)
 Use repetition and hyperbole for effect where appropriate
 Withold information to affect the reader
 Use engaging bridges to the next paragraph
 Generally start a new paragraph for a shift in subject, speaker, time or
place – paragraphing can be manipulated for effect
 Use full and varied range of punctuation: colons – to show information will
follow. ‘I am going to take the following with me: bread, wine and ..’, the
semicolon joins together two independent clauses that could be sentences,
‘Susan drives and Audi; Mary drives a Ford’, question marks, exclamation
marks, commas, speech marks, quotation marks, apostrophes for possessions
and omission:
Omission apostrophes
it’s = it is
wouldn’t = would not
O’Clock = of the
clock
Possessive apostrophes (singular)
the donkey’s tail
the man’s
moustache
Possessive apostrophes (plural)
the girls’ shoes
the students’
books
20
Plurals that don’t end with ‘S’
the men’s toilet
the children’s
games
 Vary sentence structures – using short sentences to convey tension and
speed pace and long sentences to relax tension and slow pace
 Understand the structure and punctuation of SIMPLE, COMPOUND and
 COMPLEX sentences:
Paragraphing:
Use a new paragraph for change of subject, speaker, time, place
Sentence structure:
Clause =
group of related words with a subject object verb ‘I ate cake’
Phrase =
group of words without a subject verb relationship ‘in the
morning’, ‘running down the street’
Simple sentence:
has one main, independent, clause, one verb and expresses
one idea ‘John went to the pub’
Compound sentence:
has two, or more, main independent clauses joined with
a connective
‘John went to the pub and Sue went to church’
Complex sentence: contains one main, independent, clause and at least one
subordinate, dependent, clause ‘John went to the pub, a
rancid joint on the corner of Preston Street, and Sue,
deciding to pray for deliverance from his nightly ravings,
went to church.’
The Subordinate clause adds more information; it may be removed and the
sentence still makes sense.

To support spelling:
SUPPORTING SPELLING
Opportunities should be taken in every curriculum area to promote a positive
approach towards more accurate spelling. Every teacher must be aware of the
importance of creating opportunities for students to improve their spelling. It is
also important that both parents and students have access to a practical whole
school policy on spelling.
Therefore parents should be provided with a
copy/version of this policy. This policy, designed for staff, parents and students,
gives practical advice and information about how students' spelling can be
improved. Good spelling is important in writing:
it eases communication and understanding;
it creates a good impression and can help career prospects;
21
it frees the writer to be more expressive;
it can prevent the writer's ideas being quickly dismissed, as they may be if the
spelling is inaccurate.
There are some fundamental principles on which this policy is based:
correct spelling is crucial in any form of written work, be it hand written or
computer generated;
spelling is a skill that can be taught and learnt;
spelling failure can occur throughout the ability and age range;
all students can improve on their spelling as long as:
i. they are shown how;
ii. they are willing to learn;
iii. they have confidence in their ability to improve and do not see themselves
as poor spellers. The dangers of the self-fulfilling prophecy cannot be overstressed.
Every teacher must be aware of the importance of creating opportunities for
students to improve their spelling. Students will obviously learn some language
which is specific to particular subject areas, e.g. polygon, chemical, volcano.
If spelling is not taught well, students' written work may deteriorate, i.e. they may
become worse at using their existing knowledge about word structure and dealing
with new words.
Opportunities should be taken in every curriculum area to promote a positive
approach towards more accurate spelling. It is also important that we promote
the whole school policy on marking.
2. Improving Spelling
Perhaps the most important aspect of helping to improve spelling is to try to
ensure that students do not see themselves as poor spellers who cannot be taught
how to improve. It may be that they do not have a good memory for certain
things, such as the order in which letters should go. However with commitment
and hard work from the student, with the right kind of help, with lots of support
and encouragement, and a belief that they can learn to spell better, they will
become competent spellers.
Commonly misspelled words
Practise (verb)
‘I need to practise my spelling’
Practice (noun)
‘The doctor’s practice’
Compliment
to praise someone/something
Complement
something added to enhance/complete a thing
Stationary
remaining still
Stationery
It’s
Its
Who’s
writing materials
short for it is
something that belongs to it
short for ’who is’
22
Whose
Note:
as
contractions
Your
You’re
Their
They’re
There
Loose
Lose
Affect
Effect
Criterion
Datum
Medium
Schedule
Focused
Unnecessary
Liaise
Humorous
Independent
Conscientious
used to ask about person something belongs to
‘it’ and ‘who’ are pronouns, not nouns, when they are used
possessives, they are not written as
belonging to you
short for ‘you are’
belonging to them
short for ‘they are’
used to indicate a place
not firmly fixed
fail to win/misplace
(verb) to influence/move emotionally
(noun or verb) result, a changed state occurring as a
direct result of someone or something
If one thing affects another, it has an effect on it
singular
Criteria
plural
singular
Data
plural
singular
Media
plural
pronounced ‘shedule’, not ‘skedule’
Definite
Successful
Necessary
Aesthetic
Separate
Embarrass
Weird
i.e. (that is)
e.g. (for example)
SPELLING RULES:
A useful booklet:
‘Spelling Rules’ National Literacy Strategy ISBN: 978 1 84146 166 3
Common errors:
Doubling consonants: For a short vowel sound, double the consonant when adding
a suffix,
e.g. hug = hugging, hit = hitting, stop = stopped, grab = grabbed
For a long vowel sound, leave a single consonant, e.g. write = writing, dream =
dreaming
Y to ies plurals: For words ending in ‘y’: if there is a vowel before the ‘y’ just add
‘s’, e.g. monkey = monkeys, if there is a consonant before the ‘y’, remove ‘y’ add
ies, e.g. party = parties, city = cities
Pronouns: it (impersonal) he, she, her, his e.t.c. (personal
Spelling Rules: a useful site:
http://www.amity.org.uk/Training/Spelling%20Rules/Spelling%20Rules.htm
23
Visit the site, above, to click on the link to go the Spelling Rule of your
choice:"q" is always written as "qu"
We double "l, f, and s"
Regular plurals
The sound of "ee"
"y" and not "i"
A silent "e"
"ck" may only be used
To form plurals of words with a hissing ending
Words ending in an "o"
Nouns ending in a single "f"
If a word ends in a consonant plus "y"
When "w" comes before "or"
Words ending in both a single vowel and a single consonant
When "c" is followed by "e", "i" or "y", it says "s"
When "g" is followed by "i", "e" or "y", it says "j"
Drop the final "e" from a root word
"ti", "ci" and "si" are three spellings most frequently used to say "sh"
"i" comes before "e" when it is pronounced "ee"
"all" and "well" followed by another syllable
"full" and "till" joined to another root syllable
Almost no English words end in "v" and none in "j"
For words ending in a single "l"
If a word of more than one syllable ends in a "t"
"ous" at the end of a word often means "full of"
"al" at the end of a word often means "to do with"
"er" or "or" endings
"ery" or "ary" endings
"ise", "ize" or "yse" endings
"ceed", "sede" and "cede"
"able" or "ible" endings
"able" endings
"ible" endings
"q" is always written as "qu". It never stands by itself.
e.g. quick, queen, quarrel.
We double "l, f, and s" after a single short vowel at the end of a word.
e.g. call, tall, toss, miss, stiff, stuff.
Exceptions: us, bus, gas, if, of, this, yes, plus, nil, pal.
Regular plurals are made by adding "s".
e.g. animals, horses, monkeys, and cliffs.
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The sound of "ee" on the end of a word is nearly always "y".
Exceptions: committee and coffee.
"y" and not "i" is used at the end of an English word and is usually pronounced as
a short "i".
Exceptions: macaroni, spaghetti, vermicelli (Italian), and taxi (short for
taxicab).
A silent "e" on the end of a word makes the vowel in front say its own alphabetic
name.
e.g. hate, ride, cube, bake, shire, mare, lobe.
Exceptions: done, come, some, give and have.
"ck" may only be used after a single vowel that does not say its name at the end
of a syllable or root word.
e.g. track, pick, rocket, wreckage.
To form plurals of words with a hissing ending, add "es".
i.e.after "s, x, z, sh, and ch".
e.g. buses, foxes, buzzes, wishes and churches.
Words ending in an "o" preceded by a consonant usually add "es" to form the
plural.
e.g. potatoes, volcanoes.
Exceptions: pianos, solos, Eskimos
Nouns ending in a single "f" change the "f" to a "v" before adding "es" to form the
plural.
e.g. leaf – leaves; wolf – wolves.
Exceptions: dwarfs, roofs, chiefs.
If a word ends in a consonant plus "y", change the "y" to and "i", before adding
any ending. Except: "ing".
e.g.
party – parties;
heavy – heaviness
marry – married;
funny – funnily
25
carry – carriage;
pretty – prettier
but;
cry – crying;
hurry – hurrying
When "w" comes before "or" it often says "wer" as "worm".
e.g. worship, worst, worth, work.
Exceptions: worry, worried, wore.
Words ending in both a single vowel and a single consonant always double the
last consonant before adding an ending.
e.g. stop, stopped, stopping.
flat, flatter, flattest.
swim, swimmer, swimming.
Exceptions: fix, box, fox, mix.
"x" is the same as "ck"; that is it counts as a double consonant ending.
When "c" is followed by "e", "i" or "y", it says "s". Otherwise it says "k".
e.g. centre, ceiling, circle, cycle.
cottage, cave, cream, curious, clever.
When "g" is followed by "i", "e" or "y", it says "j". Otherwise it says "g" as in gold.
e.g. gentle, giant, gymnastic.
gallon, gold, guide, glass, grow.
Exceptions: get, got, begin, girl, give, gear, geese, gift, girth, geyser, giddy.
Drop the final "e" from a root word before adding an ending beginning with a
vowel, but keep it before a consonant.
e.g. love, loving, lovely.
drive, driving, driver.
settle, settled, settling.
grace, graceful.
"ti", "ci" and "si" are three spellings most frequently used to say "sh" at the
beginning of all syllables except the first.
e.g. national, patient, palatial, infectious.
gracious, ancient, musician, fiancial.
session, admission, mansion, division.
Exceptions: "ship" as a suffix, e.g. "worship".
26
"i" comes before "e" when it is pronounced "ee", except when it follows "c" – or
when sounding like "a" as in "neighbour, or weigh".
e.g. brief, field, priest.
receive, deceive, ceiling.
Exceptions: neither, foreign, sovereign, seized, counterfeit, forfeited,
leisure.
"all" and "well" followed by another syllable only have one "l".
e.g. also, already, although, welcome, welfare.
"full" and "till" joined to another root syllable, drop one "l".
e.g. useful, cheerful, until.
Almost no English words end in "v" and none in "j".
Since publishing this page on the Web, Alistair Ewan of the University of East
Anglia has reminded us of the word "spiv".
For words ending in a single "l" after a single vowel, double the "l" before adding
a suffix, regardless of accent.
e.g. cancelled, traveller, signalling, metallic.
If a word of more than one syllable ends in a "t", preceded by a single vowel, and
has the accent on the last syllable, then double the final consonant.
e.g. permit; permitted.
admit; admitted.
regret; regretted.
But, if the accent is on the first syllable, don’t double the "t".
e.g. visit; visited.
benefit; benefited
"ous" at the end of a word often means "full of".
e.g. famous: full of fame.
glorious; full of glory.
gracious, ridiculous, furious, dangerous.
"al" at the end of a word often means "to do with".
27
e.g. musical:to do with music.
criminal:to do with crime.
historical:to do with history.
"er" or "or" endings. The most common everyday words end in "er".
e.g. baker, painter, teacher.
If in doubt, use "or", when the meaning of the word is "one who" or "that
which".
e.g. author, director, instructor, indicator, conveyor, escalator.
"ery" or "ary" endings. Words ending in "ery" are often obvious.
e.g. very, brewery, flattery, bakery, nursery.
If in doubt, use "ary".
e.g. dictionary, secretary, commentary, stationary.
Seven words ending in "ery" that might cause trouble.
e.g. distillery, confectionery, millinery, cemetery, dysentery, monastery,
stationery (paper).
"ise", "ize" or "yse" endings. Most of these words end in "ise".
e.g. sunrise, surprise, supervise, exercise, disguise, unwise, surmise,
advertise.
Only two common words end in "yse".
i.e. analyse and paralyse.
Only two common words end in "ize".
i.e. prize and capsize.
"ceed", "sede" and "cede".
Three "ceed" words; succeed, exceed, proceed.
One "sede" word; supersede.
All others "cede"
e.g.intercede, antecede, precede.
"able" or "ible" endings.
Use "able":
After root words.
e.g. available, dependable.
After root words ending in "e".
e.g. desirable, believable, usable (drop the "e").
After "i".
e.g. reliable, sociable.
When other forms of the root word have a dominant "a" vowel.
28
e.g. irritable, durable, abominable.
After a hard "c" or "g".
e.g. educable, practicable, navigable.
Exceptions: formidable, inevitable, memorable, probable, portable,
indomitable, insuperable.
Use "ible"
After non-root words.
e.g. audible, horrible, possible.
When the root has an immediate "ion"form.
e.g. digestible, suggestible, convertible.
After a root ending in "ns" or "miss".
e.g. responsible, comprehensible, permissible.
After a soft "c" or "g".
e.g. legible, negligible, forcible, invincible.
Exceptions: contemptible, resistible, collapsible, flexible.
Further Spelling strategies
1.
2.
3.
4.
5.
6.
7.
8.
Break it into sounds (d-i-a-r-y)
Break it into syllables (re-mem-ber)
Break it into affixes (dis + satisfy)
Use a mnemonic (necessary – one collar, two sleeves)
Refer to word in the same family (muscle – muscular) (word webs)
Say it as it sounds (Wed-nes-day) (spellspeak)
Words within words (Parliament – I AM parliament)
Refer to etymology (bi + cycle = two + wheels) – learn the meaning of prefixes
and suffixes
9. Use analogy (bright, light, night, etc)
10. Use a key word (drinkable/horrible) for -able & -ible / advice/advise for -able
& -ise)
11. Apply spelling rules (writing, written)
12. Learn by sight (look-cover-write-check)
13. Visual memory (look-cover-write-check)
MARKING/FORMATIVE ASSESSMENT
Marking can be one of the most significant strategies by which spelling can be
improved. When teachers mark work, they will often be looking for things like
how good the ideas are, how well the thoughts are organised, how well a lesson
has been understood, how much research has been done, how clearly the student
has expressed ideas, etc. The spelling, by itself, may not be the most important
thing about the work. However, if a teacher is marking a piece of work for
spelling, this will be explained beforehand. Teachers usually do not correct all of
the spelling mistakes, because too many corrections may have a negative effect
on a student's self confidence. Errors are not corrected to criticise the student's
work, but are done in order to show that a word is not spelt the way the student
thinks. Teachers will try to help, by showing students where and how they can
learn to spell better:29
when work is marked many spelling mistakes may be corrected. However, it
depends very much upon the nature of the work and the individual's ability, as
to the extent of correction, e.g. spelling mistakes may only be identified on the
first page of a piece of work, or only two spelling per page;
spelling mistakes should be underlined and 'sp' put in the margin;
at the end of the piece of work staff will put the first three letters of the
incorrectly spelt word and students will then correct the word themselves.
When appropriate the correction may be written by the teacher
if the same mistake is repeated, we only mark the error once but could
underline the word
students keep a spelling log in the back of their exercise book - we will remind
students of the strategy - look it up, cover it up, write it up, check again
if a well known rule of spelling is frequently broken (e.g. i before e except after
c) the rule and how to apply it should be pointed out
an able child will have most of his/her mistakes corrected
those with spelling difficulties would have key words corrected
b) General Strategies For Staff And Parents
encourage the student. Praise him/her for the words which he/she can spell
correctly, and for any attempts they make to spell difficult words
try not to let the student become disheartened
try to remain optimistic yourself about improvements - no matter how slight.
Remember that if you remain optimistic then the student is more likely to
remain hopeful about getting better at spelling. In such circumstances there is
more likelihood that they will give the effort that is required to learn to spell
better
it is good practice to make a list of useful spellings for students to put at the
start of each section of work
key words for each topic can be mounted for display in the classroom
remember that communication and enjoyment of the language are of
paramount importance
don't ask a pupil to learn a word, without showing a way to do so
plenty of practice for sounds and sound blends where appropriate
look for a word(s) hidden within the word, e.g. to get her = together
deliberately mispronounce the word (Wed-NES-day / Def- in- ITE)
look for the root word: be aware of beginnings and endings, e.g. ploy, employ,
employment, unemployment
invent a mnemonic, i.e. a sentence where each letter of the word forms the
first letter of a word in the sentence. This should be done occasionally, or it
becomes harder to remember all the mnemonics
try writing the word in different ways to see which looks right
trace the word with your finger, as you look at it. Try writing by looking at the
correctly spelt word and not at what you are writing
look at the word, with the intention of remembering it, cover it up, write it
down, check to see if it’s right
Proof Reading
30
Students are encouraged to identify a small number of mistakes in their own work
and correct them. The whole school marking annotations can be used to
encourage independent proof reading skills.
SUPPORTING HANDWRITING
(see’ Inclusion’)
Aims
 to contribute to the raising of the standards of handwriting and thus improve
the self-esteem of all the students whom we teach
 to contribute towards all students attaining a comfortable, legible, flexible and
efficient handwriting style
 to ensure that students understand the way examination scripts are marked
(increasingly e-marking via the internet following scanning) by external
examination boards and how their handwriting is crucial to attainment
 to encourage students to use a suitable pen [preferably not biros] to ensure
that their writing remains neat and legible
Staff remain sensitive to the natural handwriting style which may have already
developed and recognise this as a sign of maturity. The development of flowing,
connected handwriting is related to success in spelling.
Careful presentation enhances the content of written work, and pride in well
presented work can be a powerful incentive to overall learning. Clear writing also
helps retention and recall of words in reading and spelling.
If there are problems with a student’s handwriting then early diagnosis followed by
a systematic method of improvement is most important. Early referral to the
Inclusion and English Departments is desirable as they will initiate a systematic
programme of improving the handwriting, beginning with simple exercises in letter
formation. Consideration of the following points can aid in the diagnosis of poor
handwriting:
a.
b.
c.
d.
e.
f.
g.
h.
the body posture
position in relation to desk
positioning of the paper
noticing whether the writing is relaxed (poor spellers tend to write in a
hesitant, disconnected and non-rhythmical way)
noticing whether the pressure is correct - not too much or too little
the pen should be held lightly, about an inch from the point between the thumb
and first finger with the middle finger giving support
the formation of letters should be in the correct direction, e.g. clockwise or
anti-clockwise
noticing whether the methods of joining are appropriate or inappropriate
Some children are given a triangular pencil sleeve to correct a faulty grip and to
help position the grip properly and pens designed specifically for left handed
students are available from all large stationery outlets. Other children may be
provided with a specific thickness of felt tip, etc. as appropriate.
31
For some students it can help to take them back to basics, e.g. by paying attention
to letter patterns and letter formation. Further exercises in real life writing such
as making lists and filling in forms, as well as writing for different areas of the
curriculum are all valuable activities.
SUPPORTING SPEAKING and LISTENING
AIMS:
to develop a framework for a more systematic approach to verbal interaction in
a variety of situations
to speak with and to others with confidence and varying levels of formality
SPEAKING and LISTENING ASSESSMENT FOCUSES:
Speaking and Listening Assessment Focus (S&LAF) grids are used to teach and
assess talk. These are separated into the use of different strategies and outline
assessment criteria for different National Curriculum Levels at Key Stage 3. They
enable students to understand exactly which NC level they are working at and
what their strengths and targets are within a particular sub-level. At Key Stage 4,
these are translated into Assessment Objectives specific to the GCSE syllabus.
The Speaking and Listening Assessment focuses have recently been renewed and
simplified:
S&LAF1: Talking to others
S&LAF2: Talking with others
S&LAF3: Talking within role-play and drama
A&LAF4: Talking about talk
These new assessment focuses for Speaking and Listening are useful for self and
peer assessment by linking AF2 and AF4 together, they also prepare students for
the ‘Spoken Language’ Controlled Assessment (CA) at KS4.
KEY STAGE 3 DISCRETE LITERACY LESSONS
English Department
To further augment Whole School Literacy provision and provide a firm foundation
in communication skills, the English Department teach a fortnightly discrete
literacy lesson to Year 7 and 8 students. These lessons are logically sequenced and
progressive, covering everything from the use of full stops and capital letters to
enhanced vocabulary acquisition and effective use of modal verbs. Impact is
measured through tracking sheets, which allow students and teachers to reflect on
learning and monitor progress.
32
SUMMARY OF GOOD LITERACY PRACTICE:
 Model good handwriting, spelling, reading and emotional literacy
 Don’t try to be perfect but part of a literacy learning community. Mistakes are
learning opportunities
 Refer to the whole school literacy targets in lessons
 Encourage discussion and reflection for students on their personal literacy
targets
 Encourage peer and self assessment for literacy development
 Promote positive literacy in place of identifying ‘mistakes’ – they are learning
opportunities
 Use the LRC as a learning tool and encourage personal reading for enjoyment
and research
 Hold competitions and award department literacy prizes
 Use the whole school literacy marking annotations to encourage students to
improve
 Use speaking and listening as a literacy tool – encourage students to expand,
challenge, clarify and contrast
 Don’t forget emotional literacy – speak calmly and respectfully even in the most
challenging situations. Model emotional literacy in the way we speak to
students
 Ensure you hold a regular department audit to identify opportunities for and
existing good practice in literacy
33
Taking Literacy Further At Tanbridge House School
Understanding Corrections
Use the reference below to understand the areas you need to develop to
improve your literacy skills.
In addition to teacher assessed work, students are encouraged to review and
constructively criticise one another’s work and peer mark using the whole school
corrections policy:
SP
You need to correct a spelling on this line
~~~
You need to phrase this in a different way
GR
You must improve you language or grammar here
?
Check – does this make sense?
P
Check and improve punctuation here
H
Improve handwriting, form letters and words clearly
NP // New paragraph needed here
There should be a space between these words
^
You need to add a word or phrase
W
Change your word here to improve meaning
Proof-read check back over work to develop and improve language,
punctuation and sentence structure.
Students are encouraged to read and improve the areas indicated by themselves,
their teacher or peers to enable them to improve their literacy and overall
achievement.
 You should carefully read and improve the areas indicated by your
teacher to enable you to improve your literacy and achievement
 Take responsibility for developing your own learning: Speaking and
Listening, Reading, Writing and Emotional Literacy
34
‘Literacy’ Staff – All staff
– see Appendix B ‘Whatever your subject, you are a teacher of English’
Comment | Published in The TES on 5 March, 2010 | By: Geoff Barton
Sally Hawes
Lin O’Connel
Clare Regan
Frances Bearryman
Peggy Ashcroft
James Holmes
Ben Baker
Sarah Powell
Sarah Edwards
Leader of Inclusion
Learning Support Teacher
Learning Support Teacher
Senior TA Literacy Support
Literacy Plus/One to One Co-Ordinator
KS3 English/APP Co-Ordinator
Learning Resources Centre Manager
Whole School Literacy Co-Ordinator
Senior Literacy Link
35
Appendix A
When writing to argue, the aim is to present and develop a
particular point of view.
Distinctive Features




Based on a few key points which will promote a particular side of the argument
but which may attack or criticise an alternative view
May contain both facts and opinions, which may be hard to distinguish by the
way they are presented
Often makes use of lists and statistics
Has many features in common with persuasive writing – eg use of rhetorical
questions.
Purpose

To persuade the reader of the validity of the point of view presented.
Audience

Aimed at a readership likely to share the concerns or be interested in the topic
– eg ‘Cycle helmets should be compulsory’ in a cycling magazine’
‘The school should spend more on extra curricular activities’ in a school
magazine.
Writing to argue most often appears in



Articles in newspapers or magazines
Letters to the editor
Editorials
and may include some or all these features




Short punchy paragraphs
Brief eye-catching headlines
Sub-headings
Highlighting / underlining, for
emphasis
 Will have name, address or a
by-line
 Lists / bullet points.
36
Key Language

Linking phrases which may be used are:
However, ……
Nevertheless …..
This may be true, but ….
In spite of this …
It is my belief ….
I disagree ….
This argument does not convince everyone ….
It is a well-known fact …..
This is nonsense …..

Tone / degree of formality varies according to intended audience
– eg ‘Is the Government as serious about tackling crime as it claims?’
‘Get a life, don’t be a boozer loser.’
When writing to persuade, the aim is to make your reader do
or believe something – such as to give money to a charity, to
take on your point of view, to join a tennis club.
Distinctive Features




Rhetorical questions
Use of statistics – eg one in five
people
Lists of three
Repetition of key words




Personal experience / anecdotes
/ humour
Empathy / satire / irony
Directly addressing the reader
A strong ending which makes an
impact
Audience

The intended / interested reader. Precise audience and purpose would arise
from the particular task.
Structure / Presentational Devices



Bold print
Underlining
Sub-headings


Pictures / photos
Handwriting font
Language
37





Emotive language
Simple and direct
Encourages the reader to empathise
Questions used as headings
Discursive markers – eg: however, on the other hand …
Sequence
Introduction:
establish and describe reality of issue
build up a picture of situation in the reader’s mind
Body:
possible actions to improve situation
anticipated outcome
Conclusion:
final appeal to reader
38
Sample Answer
Study the answer to the exam question ‘Write a persuasive article for a teenage
fashion magazine about whether following fashion is important’. Read the answers
on the left side of the page whilst keeping the examiner’s comments covered. Decide
what you think about the answers first.
Answer
Examiner’s comments
Whether or not you choose to follow fashion
depends very much on your own perceptions
Some people are content to wear whatever is
cheapest. Others look for practicality when
buying clothes, preferring something sturdy to
something currently paraded on catwalks around
the world. For others, it is necessary to be seen
in the latest clothing, regardless of cost.
Companies are fully aware of the corporate
benefits of peer pressure. They know that if one
or two members of a group are seen to be
wearing their brand, then the others will almost
inevitably buy the same product to ‘fit in’ with
their friends. This is particularly true in a school
environment where peer pressure is inevitably
more intense.
This opening is acceptable but it could be more
punchy. ‘Perceptions’ is a high-level word – but
is it appropriate in this context?
My argument would be: if you can afford to spend
lots of money on fashionable clothes, then good
for you; but you should be aware that not
everyone can, and you should never make
somebody feel alienated or treat somebody
differently because they are wearing different
clothes to you. I would also urge people to look
carefully at the reasons they are buying clothes.
If you want to treat yourself to a new outfit, then
go ahead; but choose the things that suit you, that
you can afford and that you like.
Do not be fooled by brand names. If you believe
that buying the latest Calvin Klein jeans will
bring you happiness, and improve your
relationships with your friends, then you are
mistaken. Any good friend will look past what
you are wearing and judge you by your
personality. If you have problems with your
relationships, then spending lots of money on
designer clothing is not going to help you at all.
You would be better off spending your money on
something that you can enjoy with your mates.
In conclusion, I do not believe that it is a waste of
money to follow fashion. This is provided you are
doing it for yourself because you like clothing.
Following fashion becomes a criminal waste of
money, however, when the clothes are not bought
because you like them but because your mates do
or because you want to fit in.
Perhaps too much use of the personal pronouns
‘I’ and ‘me’. It would have more power with less
personal opinion.
Good balance of different opinions before you
lead into your own views.
Good use of an imperative sentence – ‘Do not be
fooled.’ There’s a lively sense of your personal
opinion here and it is powerfully expressed.
The conclusion is weaker. An article in a
magazine wouldn’t say ‘In conclusion’ – it sounds
too much like a formal essay.
39
Always remember to be very clear and detailed in giving
your advice – keep your reader in mind.
PART ONE:
Giving Clear Advice
 Follow the guidelines below
 Step One …
 Your first task should be ….
 The next step might be …
 Finally ….






Being Encouraging and Motivating
Don’t worry about ….
You can achieve success if you …
Boost your confidence by …
It’s never too late to …
Take a positive approach to …
Giving the Reader a Choice
 You might find you work better when ….
 If this doesn’t work for you ….
 Alternatively, …..
 On the other hand you might …
Being Polite but Informal
 You’ll find that …
 Get your mates to help you …
 DON’T panic. DO take control.
 Good Luck and all the best.
Engaging the Reader
 Fill in the quick quiz below …
 What type of learner are you?
 Write down five topics you need to revise.
 Advice from last year’s candidates
Personal Evidence
40
PART TWO
In your English Exam you may be asked to write to give advice. You have
about one hour to plan, write and check two sides of an A4 sheet in answer
to your chosen question.
Example Question –
You are the head of Year 11 at a secondary school. Write an advice sheet
for students on how to prepare and revise for their GCSE examinations.
Task 1 – Planning:
Draw a table in your book like the one below. In the first column list 8 – 10
things which students could do as part of their revision. In the second
column, give good reasons explaining why these activities will work.
Activities / Ideas
Reasons
Make a revision timetable. Give enough time to
each subject (particularly those about which
you are less sure). Split subjects into topics
you can revise separately. Plan for breaks!
Realistically organising the time you have left
will help you to cover everything. Ticking things
off the timetable as you do them will show you
what you have already achieved.
Task 2 – Ordering
Organise these ideas into a logical order, putting a number next to each
one.
Task 3 – Starting the Advice Sheet
Write a title, sub-heading and opening paragraph which grab attention and
motivate students to read on. For example:
Getting to Grips with Revision
How to succeed in the time you have left
Revising is easier for teachers to talk about than it is for students to do. The
advice below might help you to get started, keep motivated and ultimately succeed
in getting the grade you want.
Task 4 – Main Body of the Advice Sheet
Now write up the ideas from your table, writing a section on each one.
Checklist:
 Make sure you explain in detail what students should do, giving
alternative options if possible
 Always give good reasons and evidence that this method will
work
 Use a writing style which suit a teenage audience, but keep it
polite as you are writing as a teacher
 Write in paragraphs and sections to present different revision
methods or ideas
41
 Use sub-headings, bullet point lists, tables, checklists and
numbered points to make your advice clear, easy and
attractive to follow.
Task 5 – Finishing the Advice Sheet
End with a few sentences which motivate and encourage the students.
Task 6 – Proof Reading
Spend a few minutes reading through your whole text. Check for incorrect
spelling, missing words and a lack of paragraphing.
The aim of this sort of writing is to tell the reader about
something or someone.
Distinctive Features



Contains facts and opinions
Contains other people’s opinions, not just the writer’s
Can include personal details and express feelings
Audience
This is defined by the task and could range from a friend to a lecture
theatre full of students. In examination questions, however, the audience
will often be people with a specialist interest such as readers of a particular
magazine.
Purpose
To give information about an event or feeling.
Presentational Devices
The format (and therefore the devices) are defined by the task.
Since the aim is to inform, lists will often be used as well as statistics and
examples. The tone should suit the target audience and so colloquial
language could be employed when informing teenagers or technical
language and jargon for a specialist audience.
42
Examples for Writing to Inform:
1. Write a letter to a friend who has recently moved away from your area
to inform her or him of recent events in your life and of your plans for
the next few months.
2. People often like to read about other people’s interests and hobbies.
Choose something you are interested in and know a lot about. Write
about this in a way that informs the reader.
The aim of this sort of writing is to tell the reader why or
how something has happened, is happening or will
happen – or to show how something works.
Features
Writing to explain gives reasons in response to how and why …
eg




How someone felt
Why they felt as they did
How they acted
Why they acted as they did.
Audience
Audience is identified from task. Intended or interested reader.
Purpose
To explain a point of view, feeling or event.
Presentational Devices



Paragraphs
Direct / reported speech
Flash back.
Key Vocabulary
Words relating to feelings.
43
Sequences




What happened
Why and how it happened
How you felt about it
Why it was so important
When writing a description the writer is trying to paint a
picture in words.
Purpose of this Type of Writing
The aim is to get across to the reader what a person, place, animal or
object is like. The aim is not to tell a story and the piece does not have to
be written in the First Person.
Description involves the selection of details. Description is based on the
writer’s point of view or on what the focus is. Two people could look at the
same scene and have completely different views of it.
Ted Hughes gave some advice on writing descriptively: “Just look at it,
touch it, smell it, listen to it, turn yourself into it and then choose words
which will bring it to life until, in short, you will have captured a spirit.”
Features / Key Words

Adjectives
These are more commonly known as ‘describing words’. Adjectives are
part of the word-building process the writer needs to go through.
Adjectives are usually generated by the five senses of sight, sound,
taste, smell and touch.
A simple way of getting pupils to describe things is to get them to
choose some nouns in the classroom (desk) and then attach an adjective
(tatty) to each noun = ‘tatty desk’.

Detail
Precise, accurate, exact detail is very important. Students need to
brainstorm ideas and choose the most interesting or appropriate words:
eg, ‘a can dripping with tar with its paintbrush sticking out over the
44
edge’. The use of a Thesaurus may be helpful. You could even ban
words such as ‘big’ or ‘nice’.

Passive Tense.
Encourage students to avoid writing “I could see a tiny boat …” Instead
encourage them to use much more precise direct language: “The tiny
boat bobbed in gentle waves …”

Similes and Metaphors:
A simile is when one thing is compared with another, using the words
‘like’ or ‘as’: eg, as white as snow. Students, however, should try to
avoid over-used or well-worn cliché similes such as ‘clouds like cotton
wool’ or ‘cold as ice’.
A metaphor is used when the writer speaks of something as if it were
actually something else: eg, food for thought, the evening of her life.
Descriptive writing can use such figurative language, which is more
decorative and metaphorical – but it should be used sparingly.

Imagery:
This is the descriptive language used to create a particular feeling or
mood in the reader’s imagination.

Onomatopoeia:
The figure of speech in which the sound of a word imitates a sound – eg
plop, bang, sssh!

Alliteration:
This is where the sounds of consonants occurring in words are close
together and are the same – eg dewdrops dancing down daisies

Atmosphere:
This is the mood or feeling that the writer has given a particular place
or situation – eg creepy, peaceful, joyous

Mood:
This is created through the atmosphere of a place or scene – ie a creepy
castle could be eerie, frightening

Prepositions:
These can be used to guide the reader around a place or thing – eg
under, on, behind, over, in. Try to use prepositions at the beginning of
sentences to avoid repeating ‘There is …’
45
Structure
When constructing a piece of descriptive writing, lots of details need to be
brainstormed beforehand. Adjectives can be added to nouns; students can
play with the sounds that words create. Perhaps ‘describing’ games can be
played with a partner to help with getting a real focus. Every piece of
descriptive writing needs some kind of focus – something that is really going
to draw the reader’s attention.
The aim is to link ideas together so that the piece of writing flows. It
should move an overall description to the more specific, with the intention
of concentrating on something specific.
Paragraphs can be used to structure the writing and focus on something
specific. Sentences should be varied so that they do not all start with ‘the’
or ‘there is’. Vary the length of sentences. Descriptions often involve
longer sentences, full of descriptive detail.
Writing to Describe Tried and Tested Tips
1. Imagine you are looking through a telescope at an object or scene.
Create an imaginary place and scrutinise the area – notice texture,
sounds, smells. What can you see, hear, smell, etc in your
imagination? (but avoid ‘I could see….’, ‘I could hear..’ e.t.c. (E.g. A
small boat bobbed on the horizon, not, I could see a small boat
bobbing on the horizon)
2. Imagine that you are a film director creating a scene from your
description. Is it clear and precise enough so that the director can
exactly recreate the scene?
3. Description can be seen as poetry in paragraphs.
4. Write about the view from your bedroom window at two different
times of the day. Start with the window frame and look outwards
until you see the furthest point.
5. Describe the same scene in winter and summer – e.g. a village pond
6. Describe the same place full of people or empty – e.g. a football
stadium
46
Appendix B
*Whatever your subject, you are a
teacher of English
Comment | Published in The TES on 5 March, 2010 | By: Geoff Barton
Like a gangly teenager in the shadows of a suburban party, one of our most important
school subjects is having an identity crisis. As Ofsted put it in its 2009 subject report,
English is "at the crossroads".
While inspectors found that 70 per cent of lessons were good or outstanding, they also
found something depressing. For many young people, English is feeling leaden and
confusing and, frankly, a bit irrelevant. Many of them are set tedious tasks with little
connection to the kinds of reading and writing they might do in their real lives - stuff
along the lines of "write a letter to your best friend telling her about your summer
holiday".
In Key Stage 3 in particular, classroom activities too often have the feeling of some
disconnected hoops held out high for pupils to jump through like compliant German
Shepherd dogs.
A sign of how grim things have become is that they appear to prefer Key Stage 4 with
its cliff-face of anthologised poems to conquer and examination writing tasks with
titles like "Describe the room you are sitting in".
And while the Ofsted report makes some recommendations for rejuvenating English,
the threat to the subject hasn't receded. The new GCSE specifications run the risk that
literature - for many years the core of great English lessons - will become the
privileged playground only of our brighter pupils as schools decide not to enter those
who are unlikely to notch up a C grade.
Then there's the chill wind of functional skills blowing in - a feeling from employers,
reflected in the development of stand-alone tests and qualifications, that the subject
English isn't the kind of English that the economy needs. If basic skills in speaking,
reading and writing are taught and tested separately from English lessons, where does
that leave a subject which once seemed the pre-eminent baron in the kingdom?
The reason this matters is that pupils have never needed the essential ingredients of
English more than they do today. They need to be fully equipped to deal with a rich
and complicated world of multimedia texts, confident in using a range of skills
unthinkable when I was young, and secure in locating these techniques and
knowledge within some kind of cultural context. They need to know their cultural
birthright - why the great writers of the past matter and how they have shaped who we
are.
English, in other words, matters a lot, and we must not allow a generation to leave
school thinking it was dull or bland or irrelevant. And despite the pressure to stuff a
decent GCSE English grade into every youngster's pocket, nor should we be duped
into thinking this is the sole preserve of English teachers. We all have a responsibility
for developing our pupils' speaking and listening, reading and writing.
In a small but influential booklet called English for the English, the primary teacher
and school inspector George Sampson once wrote: "Teachers always seem to think
that it is always some other person's work to look after English. But every
teacher is a teacher of English because every teacher is a teacher in English."
47
That second sentence, he says, "should be written in letters of gold over every school
doorway".
That was in 1922 when English was struggling to emerge as a school subject in its
own right, as something other than poor man's classics. The fight was on to reinvent
the subject from deadening mechanical instruction in reading and composition to what
FR Leavis in the 1940s would describe as a battle against cultural disintegration.
Children needed to be saved from "falling into the grip of the entertainment industry"
and English was the subject to do it. This was 1949 and English teachers were being
conceptualised as "warriors" or, in Matthew Arnold's triumphalist phrase, as
"preachers of culture".
Yet if you want a sure way to provoke a collective groan in your staffroom, announce
that you are intending to hold a training day devoted to whole-school literacy. "We
did that five years ago," someone will shout, harking back to the day the National
Strategies juggernaut rolled into town with its panoply of methods.
But whole-school literacy has never been more important. The science teacher who
tells her class to write "Potassium was added to the test tube" rather than "I added
potassium"; the RE teacher who teaches pupils to use the verbs "suggests" and
"implies" instead of "says"; the PE teacher who teaches the connectives "as",
"although" and "despite"; the history teacher who reminds pupils to spell the word
"government" by saying it inside your head as "govern"+"ment" - these teachers aren't
just "doing literacy". They are teaching their pupils to speak and read and write like
experts in science and RE and PE and history.
That is why George Sampson's words from 1922 remain so relevant: every teacher in
English is a teacher of English, and all our pupils will benefit from a consistent
approach.
But this time, let's not call it literacy. Just say it's what all great teachers - whatever
their subject - do.
Geoff Barton, Headteacher, King Edward VI School, Bury St Edmunds.
48