Thursdays Child Teaching resource sheets - Pearson Schools

9 780582 844919

ISBN 0-582-84491-6

THURSDAY’S CHILD

TEACHER’S BOOKLET

Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JEEngland and Associated Companies throughout the World

© Pearson Education Limited 2004

The right of Dr. Helen Bulbeck to be identified as the author of this work has been assertedby her in accordance with the Copyright, Designs and Patents Act of 1998.

Extracts from Thursday’s Child © Sonya Hartnett

The original edition of Thursday’s Child is published in Great Britain by Walker Books Limited

Sources and acknowledgements

We are grateful to Guardian Newspapers Limited for permission to reproduce extracts fromtwo reviews of Thursday’s Child by Sonya Hartnett published in The Guardian 14th and 24th

September 2002, © The Guardian 2002.

In some instances we have been unable to trace the owners of copyright material and wewould appreciate any information that would enable us to do so.

We are grateful to the following for permission to reproduce photographs:Bicentennial Copying Project, State Library of New South Wales for page 18 (top) and Hood

Collection, State Library of New South Wales for page 18 (bottom).

All rights reserved. No part of this publication may be reproduced, stored in a retrievalsystem, 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 LicensingAgency, 90 Tottenham Court Road, London, W1T 4LP.

ISBN 0582 844916

First published 2004

Introduction

2

AimThis resource provides materials to support the teachingof framework objectives through the reading ofThursday’s Child. Reading can be a shared, socialactivity and it is important that pupils are given theopportunity to talk and write about their reading.Emphasis is placed on the promotion and developmentof independent reading, as pupils are asked to reflecton the reading strategies they use and encouraged totry out new ones. Many of the activities encouragepupils to build a bridge between their reading andwriting. In particular, pupils are encouraged to developthe skills that readers in Year 9 need if they are to meetthe reading and writing demands made of them.

The lesson outline The lesson outline provides a structure for teaching at aglance. It is intended to provide a framework and canbe adjusted to suit your circumstances. The structureenables you to cover a longer text, while maintainingpace. Objectives are taught explicitly and are clearlyplaced within the context of the book and the lessonstructure. There will be issues about coverage, but it ismore important that pupils are able to explore theirreading through talk and other interactive approaches,rather than sitting passively as the whole book is read tothem, or worse, being asked to ‘read around the class’.

Approaches for progressing through the book include:• pupils or teacher recap 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, if available• 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 ownreading. If they want to read on, let them; re-readingchapters and revisiting prior reading may highlightthings that were missed before.

Guided and group work

Guided and group reading and writing facilitatesinteraction between teacher and pupil and betweenpupil and pupil. The focus on objectives enablesteaching and learning to be pitched at a high level, sothat pupils are challenged and extended. Guided work isvaluable and effective because it focuses on reading andwriting strategies, which enable pupils to develop asindependent learners. The use of small groups allowsthe teacher to intervene at the point of learning, whichmeans that he or she can have a much more immediateeffect on what pupils are doing. In addition, it allowspupils to see the good models of reading and writingwhich are so crucial to their development asindependent readers and writers.

Lesson Four contains a guided session so that lower-attaining pupils who are insecure with inference anddeduction have an opportunity to work closely with the

teacher. Opportunities for guided reading and guidedwriting are indicated within the lesson outline.Underpinning these opportunities for guided readingand writing are group activities which allow the rest ofthe class to work independently of the teacher. It isenvisaged that each guided group will consist of nomore than six pupils.

Managing group and guided work

If pupils are unfamiliar with it, it may take time todevelop a culture of guided work in the classroom.However, it is worth persevering. Establishing clearground rules for group and guided work from thebeginning is a good idea. The following may help:• where possible, create groups from pupils with

similar reading confidence skills• make the groups responsible for their own

organisation• identify time and, if possible, clerical support, for

managing the resources• use any additional adult support in the classroom• edit the materials to suit the needs of the pupils• give the groups concrete outcomes• allocate specific roles within the groups, including

that of timekeeper• organise pupils into ‘study buddies’• use peer assessment and rewards• make it clear that all pupils are expected to

contribute to the plenary.

Resources

This unit does not require extensive resources butideally they should be prepared in advance. Groupactivities could be photocopied onto coloured card andlaminated, so that pupils have their own copies forreference. The main resources you will need are: copiesof the text, highlighter and marker pens, ‘Post-it’ notes,sugar paper, reading journals, copies of extracts on OHTand on paper for annotation.

Reading journals

While some pupils will eagerly share their impressionsabout texts they have read, others feel less comfortablein class discussions, and will keep their thoughts tothemselves. In an effort to encourage all pupils to thinkmore about what they read and to share theirobservations and opinions confidently, some teachersuse reading journals to great advantage. Readingjournals provide pupils with the opportunity to reflect,speculate and express their immediate responses totheir reading. They can be an essential tool in trackinghow pupils are responding to the text.

Pupils can make a wide variety of entries in a readingjournal, including:• 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.

3

Literal

• Date of entry• Pages/chapter• Prior knowledge:

– What happened in the lastchapter?

– What do you know about …?– Use of KWL grids.

• Sequence key events:– How might the story

continue?– What are the clues?

• Brief summary:– main points– only important/new facts– plot development.

Analysis and interpretation

• Personal response:– reactions– predictions– judgements– comparisons– questions, wonderings– sketches, illustrations– diagrams, tension graphs,

mind-maps– interesting vocabulary,

images– cause and effect.

Synthesis and evaluation

• Readers make connectionsbetween the text and:– themselves – other texts– other things they know.

• Elements of narrative stylereflected in own writing.

• How have responses developedduring reading?

• How are the elements of thetext a synthesis? (Explorethrough mind-mapping.)

How often should pupils write in their journals?

Less is more! Writing in journals several times a week will soon become tedious and pupils will find that they havenothing new to add. It is much better to ask for fewer responses, and ones that require deeper engagement, sothat pupils are writing for themselves and not for the teacher. Opportunities for using reading journals arehighlighted in this resource, but it may be worthwhile establishing routines so that pupils know when they areexpected to make an entry. For example, pupils could be asked to reflect every lesson on the reading strategiesthat they have used, and make a brief note about them, including reference to the text.

Key ideas in the text

It would be useful if pupils could track the key ideas in Thursday’s Child, including the following:• animal imagery• foreshadowing• use of repetition • images of Tin • images and references to nature, seasons and the landscape.

These key ideas are all explored in the unit and pupils will find it easier to discuss them if they already have someexamples to hand. Pupils may find it helpful to annotate the text using ‘Post-it’ notes, although you may need tomodel this first, so that the notes can be easily transferred to their reading journals.

Most pupils will need support if they are to write withclarity and understanding, even if they are just makingnotes. For example, if pupils are asked to delve intocharacters’ motivations and choices, this kind ofresponse will need to be modelled for them. You canalso provide key words and phrases to prompt criticalresponses from pupils, for example:

‘I wonder what this means …’

‘This bit reminds me of …’

‘If it was me, I would …’

‘I was surprised when …’

Assessing the reading journal

It is important that pupils regard the journal as part of acontinuing dialogue with the teacher and with eachother, rather than work that is to be marked. However,there are three stages that reflect critical thinking andreading and these could be used as a teacher checklist

for assessment:

1 A literal encounter with the text – the pupil’sresponses are superficial and tend towards recount.

2 Analysis and interpretation – the pupil’s responsesare more reflective, for example empathy with acharacter is reflected in the journal.

3 Synthesis and evaluation – the pupil is able to makelinks within and beyond the text.

It is important to remember that more challengingcontent on its own does not always improve pupils’critical thinking. Equipping pupils with the rightvocabulary and the methods by which they canappraise their learning and progress is a critical part ofthe process. Using a layout such as the one suggestedbelow will support pupils when they are developingtheir critical engagement with the text they are reading.Some activities are listed, but these are just suggestions.

Before, duringor after reading

During or afterreading

After reading

Overview of objectives

W11 Figurative vocabulary

SentenceSn2 Variety of sentence structureSn4 Tense shiftsSn7 Cohesion and coherence

ReadingR3 Notemaking formatsR4 Versatile readingR5 Trace developmentsR7 Implied and explicit meaningsR8 TranspositionR10 Development of key ideasR12 Independent readingR13 Interpret a textR16 Cultural context

WritingWr2 Anticipate reader reactionWr3 Writing to reflectWr5 Narrative commentaryWr6 Figurative languageWr17 Integrate evidence

Speaking and listeningS&L7 Listen for a specific purposeS&L10 Hypothesis and speculationS&L11 Building on others

W7 Layers of meaning

SentenceSn1 Complex sentencesSn4 Integrate speech, reference and quotation Sn6 Paragraph organisation

ReadingR5 Evaluate own critical writing R6 Authorial perspectiveR7 Compare textsR12 Rhetorical devices R13 Evaluate own readingR16 Different cultural contexts R18 Prose text

WritingWr1 Review own writingWr2 Exploratory writingWr3 Formal essayWr5 Narrative techniquesWr11 Descriptive detailWr12 Effective presentation of informationWr17 Cite textual evidence

Speaking and listeningS&L9 Considered viewpoint

The notion of literacy being embedded in objectives involves much more than the basicacquisition of skills. The objectives selected here focus on enabling pupils to read asreaders in order to deepen their understanding and appreciation, and to read aswriters so that they can identify typical features and explore how writers gain impact.This is the point at which the bridge between reading and writing is made – when thepupil has the ability to step outside the body of a text and look at it as a writer. Whilstthe majority of objectives selected reflect the development of reading, this does notimply that they should be approached in isolation or taught in a reductive way. Theobjectives listed below encompass the ability to recognise, understand and manipulatethe conventions of language and develop the pupils’ ability to use languageimaginatively and flexibly, in the narrative context. Objectives (and pupils) benefit frombeing explicitly taught and from being identified and deployed in context.

Other objectives can also be taught (through starter activities), but it is up to theteacher to decide where the priority lies and to adapt the resource materials accordingto the needs of the pupils.

While Year 9 is the focus of this resource, this does not mean that the novel cannot beused with Year 8. With this in mind, the Year 8 objectives listed below could underpinthe unit.

4

Year 8 Year 9

Word Word

5

Less

on

1

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F7

•S&

L9 C

on

sid

ered

view

po

int

•W

r2 E

xplo

rato

ry w

ritin

g

Less

on

fo

cus

•Pr

edic

t•

Pass

com

men

ts•

Spec

ulat

e

Star

ter/

Intr

od

uct

ion

Rea

din

g jo

urn

als

and

gro

up

dis

cuss

ion

•In

trod

uce

read

ing

jour

nals

and

expl

ain

use.

•In

trod

uce

lang

uage

of

deve

lopi

ng a

con

side

red

view

poin

t. B

rain

stor

m w

ords

and

phra

ses

that

hel

p to

just

ify a

ndm

odify

idea

s us

ing

the

follo

win

ghe

adin

gs:

– H

ow t

o gi

ve e

vide

nce

e.g.

The

revi

ews

sugg

est

…

– H

ow t

o us

e ad

verb

s e.

g. S

omet

imes

…

– H

ow t

o in

terje

ct e

.g.

OK

, I

unde

rsta

nd n

ow …

– H

ow t

o m

ake

stat

emen

ts o

fop

inio

n e.

g. I

wou

ld p

refe

r to

thin

k th

at …

–H

ow t

o ev

alua

te e

vide

nce

e.g.

On

the

othe

r ha

nd (

See

DfE

SYe

ar 9

Key

Ob

ject

ives

Ban

k(p

age

74).

Dev

elo

pm

ent

Rea

chin

g a

co

nsi

der

ed v

iew

po

int

•W

orki

ng in

sm

all g

roup

s, a

sk p

upils

to

com

pare

rev

iew

s of

Thu

rsda

y’s

Chi

ldan

dto

look

at

the

title

, co

ver

etc.

Pu

pil

wo

rksh

eet

•U

sing

the

lang

uage

of

cons

ider

edvi

ewpo

int,

ask

pup

ils t

o ex

plor

e vi

sual

imag

es o

f th

e A

ustr

alia

n G

reat

Dep

ress

ion.

Pu

pil

wo

rksh

eet

•Pu

pils

the

n no

te d

own

issu

es t

o th

ink

abou

t w

hile

rea

ding

the

nov

el.

•A

sk p

upils

to

writ

e th

ree

to f

ive

ques

tions

in t

heir

jour

nals

tha

t th

ey h

ope

will

be

answ

ered

at

the

end

of t

he n

ovel

.1.2

1.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

to

expl

ore

how

the

lang

uage

of

cons

ider

ed v

iew

poin

tca

n be

use

d in

writ

ing.

Ho

mew

ork

•Re

ad C

hapt

er 1

.•

Enco

urag

e pu

pils

to

use

thei

r jo

urna

ls t

o no

tedo

wn

pers

onal

res

pons

es(in

clud

ing

effe

cts

on t

here

ader

and

wor

ds a

ndph

rase

s th

at a

ppea

l) an

dto

mak

e no

tes

onch

arac

ters

and

set

ting.

Ask

pup

ils t

o pl

ot a

timel

ine

of e

vent

s an

dth

e pa

ssin

g of

tim

e.

Less

on

ou

tlin

e

6

Less

on

2

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F6

•R6

Aut

horia

l per

spec

tive

Wri

tin

g A

F1

•W

r5 N

arra

tive

tech

niq

ues

•Sn

6 Pa

rag

rap

ho

rgan

isat

ion

Less

on

fo

cus

Ch

apte

r 1

•A

utho

rial a

ndna

rrat

ive

voic

e•

Mak

ing

note

s

Star

ter/

Intr

od

uct

ion

Nar

rati

ve o

pen

ing

s

•D

ivid

e th

e cl

ass

into

gro

ups.

Ask

pupi

ls t

o w

rite

the

open

ing

sent

ence

s of

a n

arra

tive

of t

hesa

me

genr

e e.

g. s

cien

ce f

ictio

n.G

ive

each

gro

up a

diff

eren

tm

etho

d of

beg

inni

ng t

hena

rrat

ive:

– G

roup

A s

houl

d op

en w

ithac

tion

and

first

per

son

– G

roup

B s

houl

d op

en w

ithde

scrip

tion

and

omni

scie

ntna

rrat

or

– G

roup

C s

houl

d op

en w

ithdi

alog

ue

– G

roup

D s

houl

d op

en w

ithdu

al n

arra

tive

pers

pect

ive.

•A

sk p

upils

to

writ

e op

enin

gse

nten

ces

and

com

pare

the

effe

ct o

f th

ese

varia

tions

.

Dev

elo

pm

ent

Intr

od

uct

ion

to

nar

rati

ve v

oic

e

•Ex

plor

e w

ith p

upils

the

diff

eren

ce b

etw

een

narr

ativ

e vo

ice

and

auth

oria

l voi

ceth

roug

h th

e la

ngua

ge o

f fo

resh

adow

ing

inC

hapt

er 1

. M

odel

the

firs

t ex

ampl

e.Te

ach

er p

lan

ner

•G

ive

pupi

ls o

ther

exa

mpl

es a

nd a

sk t

hem

to t

hink

abo

ut t

he f

ollo

win

g:

– W

hat

is H

arpe

r sa

ying

?

– W

hat

is t

he a

utho

r sa

ying

?

– W

hat

is t

he e

ffec

t on

the

rea

der?

This

cou

ld b

e an

opp

ortu

nity

for

gui

ded

read

ing.

Pup

il w

ork

shee

t •

NB

Rem

ind

pupi

ls t

o co

ntin

ue t

o no

tefu

rthe

r ex

ampl

es o

f fo

resh

adow

ing

inth

eir

jour

nals

as

they

pro

gres

s th

roug

h th

eno

vel.

2.2

2.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•W

orki

ng in

pai

rs,

ask

pupi

ls t

o ex

plai

n th

edi

ffer

ence

bet

wee

nna

rrat

ive

voic

e an

dau

thor

ial v

oice

.•

Pupi

ls t

hen

writ

e th

efin

al t

wo

lines

of

the

stor

y in

the

ir jo

urna

ls.

Ho

mew

ork

•A

sk p

upils

to

read

Cha

pter

2 a

nd c

ontin

ueth

e tim

elin

e of

even

ts/p

assi

ng o

f tim

e.

7

Less

on

3

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F5 &

AF6

•R

7 C

om

par

e te

xts

Wri

tin

g A

F2

•Sn

4 In

tegr

ate

spee

ch,

refe

renc

e an

d qu

otat

ion

Less

on

fo

cus

Ch

apte

r 2

•Te

xt a

nnot

atio

n •

Inte

grat

ere

fere

nce

and

quot

atio

n

Star

ter/

Intr

od

uct

ion

Effe

ctiv

e d

escr

ipti

on

•U

sing

the

‘m

uddy

cou

ntry

’de

scrip

tion

(pag

e 19

) as

apr

ompt

, fo

cus

pupi

ls o

n th

eco

nven

tions

of

desc

riptiv

ew

ritin

g.•

Ask

cla

ss t

o br

ains

torm

the

lang

uage

of

com

paris

on f

ocus

ing

on t

he f

ollo

win

g:

–st

atem

ents

of

opin

ion

– co

nnec

tives

tha

t co

mpa

re a

ndco

ntra

st

– co

mpa

rativ

e an

d su

perla

tive

adje

ctiv

es

– ve

rbs

that

exp

ress

eva

luat

ion

– su

bjec

t-sp

ecifi

c vo

cabu

lary

.

Dev

elo

pm

ent

Plen

ary

and

Ho

mew

ork

Co

mp

aris

on

of

text

s•

Intr

oduc

e Pu

pil W

orks

heet

3.2

and

the

n m

odel

rea

ding

and

anno

tatio

n of

one

tex

t. T

each

er p

lan

ner

•

Wor

king

in s

mal

l gro

ups/

pairs

, pu

pils

ann

otat

e a

furt

her

text

and

feed

bac

k on

OH

T. P

up

il w

ork

shee

t •

Thro

ugh

shar

ed a

nd m

odel

led

read

ing,

pup

ils e

xplo

re in

det

ail a

rang

e of

tex

ts u

sing

the

lang

uage

of

com

paris

on t

o an

swer

the

ques

tion,

‘W

hich

tex

t m

ost

effe

ctiv

ely

desc

ribes

the

con

ditio

ns o

f lif

ein

the

tre

nche

s? P

up

il w

ork

shee

t •

Mod

el a

naly

tical

com

men

t, in

tegr

atin

g sp

eech

, re

fere

nce

and

quot

atio

n in

to a

n or

al r

espo

nse

and

then

a s

hort

writ

ten

revi

ew,

usin

g th

e ex

ampl

e fr

om T

each

er p

lann

er

. •

Prov

ide

pupi

ls w

ith a

cop

y of

the

grid

fro

m T

each

er p

lann

er

and

ask

them

to

com

plet

e a

shor

t w

ritte

n re

view

of

one

text

, us

ing

poin

t, e

xam

ple

and

expl

anat

ion.

Thi

s co

uld

be a

n op

port

unity

for

guid

ed w

ritin

g. T

each

er p

lan

ner

3.3

3.3

3.3

3.23.

2

3.1

8

Less

on

4 5

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3

•W

7 La

yers

of

mea

nin

g•

S&L9

Co

nsi

der

edvi

ewp

oin

t

Rea

din

g A

F3 &

AF5

•R

7 C

om

par

e te

xts

•W

7 La

yers

of

mea

nin

g

Less

on

fo

cus

Ch

apte

r 3

•C

hara

cter

•In

fere

nce

and

dedu

ctio

n

Ch

apte

rs 4

–5

•Te

xt m

arki

ngan

d an

nota

tion

•C

reat

ing

bias

•In

fer

and

dedu

ce•

Vis

ualis

e•

Empa

this

e

Star

ter/

Intr

od

uct

ion

Infe

ren

ce a

nd

ded

uct

ion

•Re

spon

se p

artn

ers.

Wor

king

inpa

irs,

ask

pupi

ls t

o cr

eate

defin

ition

s of

infe

renc

e an

dde

duct

ion

usin

g th

e la

ngua

ge o

fco

nsid

ered

vie

wpo

int.

Wor

king

ingr

oups

of

four

to

eigh

t, a

skpu

pils

to

pres

ent

thei

r de

finiti

ons

on s

ugar

pap

er a

nd d

ispl

ay.

Den

ota

tio

n a

nd

co

nn

ota

tio

n

•Fo

cusi

ng o

n th

e cr

eatio

n of

bia

sin

writ

ing,

pro

vide

def

initi

ons

ofco

nnot

atio

n an

d de

nota

tion.

Teac

her

pla

nn

er5.

1

Dev

elo

pm

ent

Exp

lora

tio

n o

f ch

arac

ter

and

set

tin

g –

infe

ren

ce a

nd

ded

uct

ion

•Sh

ared

rea

ding

of

Cha

pter

3.

•G

uide

d te

achi

ng w

ith a

low

er-a

ttai

ning

grou

p w

ho a

re in

secu

re w

ith in

fere

nce

and

dedu

ctio

n. A

sk p

upils

to

focu

s on

trac

ing

the

deve

lopm

ent

of r

elat

ions

hips

with

in t

he f

amily

. G

uid

ed s

essi

on

pla

nn

er•

Gro

up t

ask

focu

sing

on

the

expl

icit/

impl

icit

deve

lopm

ent

of c

hara

cter

s. P

up

ilw

ork

shee

t

Den

ota

tio

n a

nd

co

nn

ota

tio

n in

rea

din

g

•Sh

ared

rea

ding

of

Cha

pter

s 4–

5.•

Usi

ng ‘

Post

-it’

note

s, a

sk p

upils

to

note

exam

ples

of

how

the

aut

hor,

thro

ugh

the

use

of d

enot

atio

n an

d co

nnot

atio

n,cr

eate

s a

sens

e of

pow

er in

the

cha

ract

erof

Mr

Vand

ery

Cab

le a

nd e

xplo

re t

heef

fect

of

this

. Re

min

d pu

pils

to

stic

k th

eir

‘Pos

t-it’

not

es in

the

ir jo

urna

ls T

his

coul

dbe

an

oppo

rtun

ity f

or g

uide

d re

adin

g.•

Ask

hig

her-

atta

inin

g pu

pils

to

expl

ore

deno

tatio

n an

d co

nnot

atio

n in

a r

ange

of

text

s in

whi

ch t

here

are

diff

eren

tin

terp

reta

tions

of

mea

ning

e.g

. th

eex

trac

ts d

escr

ibin

g co

nditi

ons

in t

hetr

ench

es in

Les

son

3. T

each

er p

lan

ner

5.1

4.1

4.2

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

to

thin

k of

two

ques

tions

(fo

cusi

ngon

Cha

pter

s 1–

3) t

hat

invi

te p

eers

to

infe

r/de

duce

.

Plen

ary

•Pu

pils

rev

iew

the

ski

llsth

ey h

ave

used

so

far:

– la

ngua

ge o

fco

nsid

ered

vie

wpo

int

– te

xt a

nnot

atio

n

– in

tegr

atin

g qu

otat

ion

and

refe

renc

e

– in

fere

nce

and

dedu

ctio

n

– m

akin

g no

tes.

H

om

ewo

rk

•A

sk p

upils

to

read

Cha

pter

6 a

nd c

ontin

ueto

cha

rt e

vent

s on

the

timel

ine.

9

Less

on

6 7

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3, A

F5 &

AF6

•R6

Aut

horia

l per

spec

tive

•R

12 R

het

ori

cal d

evic

es•

W7

Laye

rs o

f m

ean

ing

Rea

din

g A

F5 &

AF6

•R

16 D

iffe

ren

t cu

ltu

ral

con

text

s•

Wr1

7 C

ite t

extu

alev

iden

ce

Less

on

fo

cus

Ch

apte

r 6

•C

reat

ing

bias

•In

fer

and

dedu

ce•

Rein

terp

ret

Ch

apte

r 7

•Re

-rea

d•

Rela

te t

o tim

ean

d pl

ace

•In

terp

ret

patt

erns

Star

ter/

Intr

od

uct

ion

Rec

ap

•Re

spon

se p

artn

ers.

Ask

pup

ils t

ow

ork

in p

airs

. Pu

pil A

ret

ells

the

even

ts o

f C

hapt

er 6

to

Pupi

l B.

Pupi

ls t

hen

disc

uss

the

diff

eren

ces

in t

heir

perc

eptio

nsan

d co

nsid

er h

ow t

hey

acco

unt

for

the

diff

eren

ces.

•W

rite

som

e of

the

nou

ns a

ndad

ject

ives

list

ed o

n Te

ache

rpl

anne

r 6.

1 on

the

boa

rd.

Ask

pupi

ls t

o id

entif

y w

hich

age

grou

p th

ey a

re r

outin

ely

appl

ied

to.

Pres

ent

the

tabl

e (w

hich

focu

ses

on t

he p

ositi

ve a

ndne

gativ

e co

nnot

atio

ns o

f w

ords

)on

Tea

cher

pla

nner

6.1

on

the

whi

tebo

ard.

Pro

vide

pup

ils w

ith a

copy

of

the

grid

on

Teac

her

plan

ner

6.1

and

ask

them

to

plac

e th

e no

uns

and

adje

ctiv

esus

ed t

o de

scrib

e ol

d pe

ople

,lis

ted

on t

he b

oard

, in

the

appr

opria

te c

olum

n. T

each

erp

lan

ner

Cu

ltu

re a

nd

tra

dit

ion

s

•A

sk t

he c

lass

to

brai

nsto

rm t

hefo

llow

ing:

– cu

lture

is …

– tr

aditi

ons

are

…•

Ask

pup

ils t

o ex

plai

n ho

w w

ekn

ow t

hat

Thur

sday

’s C

hild

is n

otse

t in

Eng

land

.

6.1

Dev

elo

pm

ent

Den

ota

tio

n a

nd

co

nn

ota

tio

n in

wri

tin

g

•Fo

cusi

ng o

n th

e de

scrip

tions

of

Mr

Vand

ery

Cab

le (

page

s 40

–43,

47–

49)

and

usin

g on

e ex

ampl

e fr

om t

he ‘

Post

–it’

note

s in

Les

son

5, m

odel

a r

ewrit

ing

ofth

e ex

ampl

e to

rev

eal o

ppos

iteco

nnot

atio

n.•

Wor

king

in p

airs

, as

k pu

pils

to

sele

ct o

ther

exam

ples

and

to

rew

rite

the

exis

ting

text

,us

ing

oppo

site

con

nota

tion.

Thi

s co

uld

bean

opp

ortu

nity

for

gui

ded

writ

ing.

•Pu

pils

the

n sh

are

thei

r w

ritte

n re

spon

ses.

Cu

ltu

re a

nd

tra

dit

ion

s

•Sh

ared

rea

ding

of

Cha

pter

7.

Ask

pup

ilsto

con

side

r th

e ro

le o

f th

e la

ndsc

ape

inA

ustr

alia

n lit

erat

ure

and

the

plac

e of

Thur

sday

’s C

hild

with

in t

his.

Thi

s co

uld

bean

opp

ortu

nity

for

gui

ded

read

ing.

Teac

her

pla

nn

er

7.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•Ex

plai

n th

at a

noth

erex

ampl

e of

con

nota

tion

is in

the

cha

ract

ers’

nam

es.

•A

sk p

upils

to

cons

ider

how

the

nam

es o

f th

eFl

ute

fam

ily d

iffer

fro

mth

e ot

her

char

acte

rs in

the

nove

l.•

Pupi

ls t

hen

cons

ider

whe

ther

the

se n

ames

carr

y co

nnot

atio

ns.

Ho

mew

ork

•A

sk p

upils

to

re-r

ead

Cha

pter

1 a

nd m

ake

note

s in

the

ir jo

urna

lsfo

cusi

ng o

n ho

wap

pare

nt t

hese

the

mes

are

at t

he b

egin

ning

of

the

nove

l. Pu

pils

the

nup

date

the

tim

elin

e of

even

ts.

Plen

ary

•A

sk e

ach

grou

p to

fee

dba

ck o

n th

e ro

le o

fna

ture

and

/or

the

land

scap

e in

the

irch

apte

r. •

Pupi

ls t

hen

com

plet

eTa

sk 3

. Te

ach

erp

lan

ner

7.1

10

Less

on

8 9

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F2 &

AF6

•R6

Aut

horia

l per

spec

tive

•R1

8 Pr

ose

text

Rea

din

g A

F7 &

AF5

•R

16 D

iffe

ren

t cu

ltu

ral

con

text

sW

riti

ng

AF1

•W

r11

Des

crip

tive

deta

il•

Sn1

Com

plex

sen

tenc

es•

Sn6

Para

gra

ph

org

anis

atio

n

Less

on

fo

cus

Ch

apte

r 8

•In

terp

ret

patt

erns

•A

sk q

uest

ions

•Es

tabl

ish

rela

tions

hip

with

auth

or a

ndna

rrat

or

Ch

apte

r 9

•In

terp

ret

patt

erns

•D

raft

ing

•U

se r

eadi

ng t

oin

form

writ

ing

Star

ter/

Intr

od

uct

ion

Ro

le o

f th

e au

tho

r

•A

ctiv

ate

prio

r kn

owle

dge.

Ask

pupi

ls t

o ex

plai

n w

hat

we

mea

nby

voi

ce in

the

tex

t an

d to

iden

tify

whi

ch v

oice

s w

e ca

nhe

ar.

•Pu

pils

the

n re

visi

t th

eir

note

sfr

om L

esso

n 2

on f

ores

hado

win

gan

d co

nsid

er w

hat

Har

per

issa

ying

, w

hat

the

auth

or is

say

ing

and

wha

t th

e ef

fect

on

the

read

er is

.

Nar

rati

ve s

tyle

(1)

•A

sk p

upils

to

revi

sit

thei

rjo

urna

ls,

shar

ing

and

expl

aini

ngth

e w

ords

or

phra

ses

they

fou

ndef

fect

ive

and

expl

aini

ng w

hy.

•In

trod

uce

inve

nted

wor

ds f

rom

the

nove

l. A

sk p

upils

to

expl

ore

wha

t th

e w

ords

mea

n an

d ho

wth

ey a

dd t

o th

e cu

ltura

l con

text

.

Dev

elo

pm

ent

Nar

rati

ve s

tyle

(1)

•Sh

ared

rea

ding

of

Cha

pter

9.

Mod

el c

lose

read

ing

of t

he o

peni

ng p

arag

raph

,em

phas

isin

g se

nten

ce le

vel f

eatu

res.

Teac

her

pla

nn

er

•W

orki

ng w

ith t

he w

hole

cla

ss,

crea

te a

writ

ing

fram

e th

at r

efle

cts

the

stru

ctur

e of

this

par

agra

ph.

Ask

pup

ils t

o dr

aft

ade

scrip

tive

para

grap

h us

ing

the

writ

ing

fram

e. T

his

coul

d be

an

oppo

rtun

ity f

orgu

ided

writ

ing.

9.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•Pu

pils

sha

re t

heir

desc

riptiv

e pa

ragr

aphs

with

the

ir pe

ers,

usi

ngth

e w

ritin

g fr

ame

tosu

ppor

t fe

edba

ck.

Ho

mew

ork

•A

sk p

upils

to

writ

e up

thei

r pa

ragr

aph.

Au

tho

rial

an

d n

arra

tive

vo

ice

•Sh

ared

or

smal

l gro

up r

eadi

ng o

f C

hapt

er 8

.•

Ask

pup

ils t

o co

mpl

ete

smal

l gro

up t

asks

, fo

cusi

ng o

n lin

king

auth

oria

l voi

ce t

o th

emes

thr

ough

min

d-m

appi

ng li

nks

betw

een

plot

,ch

arac

ters

and

the

mes

. Th

is c

ould

be

an o

ppor

tuni

ty f

or g

uide

dre

adin

g.•

Ask

gro

ups

to r

evis

it th

eir

min

d-m

aps

from

Les

son

4 an

d to

agr

ee o

nth

e ke

y th

emes

tha

t ha

ve e

mer

ged

in T

hurs

day’

s C

hild

so f

ar.

Expl

ain

that

pup

ils c

an e

ither

map

the

se t

hem

es o

nto

thei

r ex

istin

g sh

eets

or

begi

n a

new

min

d-m

ap o

f th

e th

emes

and

the

ir po

rtra

yal i

n th

eno

vel.

•Pu

pils

the

n id

entif

y th

e th

emes

and

how

the

y ar

e po

rtra

yed

thro

ugh

sett

ing,

cha

ract

er a

nd la

ngua

ge.

•A

sk p

upils

to

disc

uss

whi

ch is

the

mos

t im

port

ant

them

e an

d w

hy.

11

Less

on

10 11

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F5

& W

riti

ng

AF7

•R

12 R

het

ori

cal d

evic

es

Rea

din

g A

F6 &

W

riti

ng

AF2

•W

r1 R

evie

w o

wn

writ

ing

•W

r2 E

xplo

rato

ry w

ritin

g

Less

on

fo

cus

Ch

apte

r 10

•In

terp

ret

patt

erns

•A

sk q

uest

ions

•U

se r

eadi

ng t

oin

form

writ

ing

Rev

isit

Ch

apte

rs9–

10

•In

terp

ret

patt

erns

•Em

path

ise

Star

ter/

Intr

od

uct

ion

Nar

rati

ve s

tyle

(2)

•A

ctiv

ate

prio

r kn

owle

dge.

Usi

ngth

eir

jour

nals

to

reco

rd t

heir

idea

s, a

sk p

upils

to

brai

nsto

rmho

w a

writ

er c

an b

uild

ten

sion

,fo

cusi

ng o

n ba

lanc

e of

dial

ogue

/des

crip

tion,

sen

tenc

eva

riety

, qu

estio

ns,

pow

erfu

lve

rbs,

rep

etiti

on.

Teac

her

pla

nn

er

Ch

arac

teri

sati

on

•Pu

pils

not

e th

e ra

nge

ofem

otio

ns t

hat

Har

per

has

expe

rienc

ed in

Cha

pter

s 9–

10.

10.1

Dev

elo

pm

ent

Nar

rati

ve s

tyle

(2)

•Sh

ared

rea

ding

of

Cha

pter

10.

•

Ask

pup

ils t

o co

nsid

er w

heth

er C

affy

’sde

ath

was

for

esha

dow

ed in

the

pre

viou

sch

apte

rs.

•Pu

pils

eng

age

in a

foc

used

exp

lora

tion

ofho

w t

he le

vels

of

tens

ion

and

pace

chan

ge a

s th

e ch

apte

r pr

ogre

sses

.•

Ask

pup

ils t

o dr

aw a

ten

sion

gra

ph o

fC

hapt

er 1

0, s

how

ing

how

the

cha

nge

inte

nsio

n is

cre

ated

. Pu

pils

the

n id

entif

y th

ete

chni

ques

tha

t ha

ve b

een

used

in t

his

chap

ter

at t

he k

ey p

oint

s of

ten

sion

iden

tifie

d on

the

ten

sion

cha

rt,

usin

gpr

ompt

s. T

each

er p

lan

ner

Trac

e th

e d

evel

op

ing

rel

atio

nsh

ips

•W

orki

ng in

gro

ups

of t

hree

, as

k pu

pils

to

revi

sit

the

char

acte

r m

ind-

map

s cr

eate

d in

Less

on 4

and

to

cons

ider

how

the

rela

tions

hips

hav

e ch

ange

d be

twee

n th

ech

arac

ters

.•

Ask

pup

ils t

o fin

d ke

y ph

rase

s/qu

otat

ions

rela

ting

to t

he c

hara

cter

s fr

om d

iffer

ent

part

s of

the

nov

el a

nd w

rite

them

on

the

map

s. P

upils

the

n de

cide

wha

t th

ey w

ould

have

to

do t

o th

is in

form

atio

n to

ada

pt it

for

an a

naly

tical

ess

ay o

n th

e ch

arac

ters

.

10.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

to

note

dow

nth

ree

way

s in

whi

ch t

heau

thor

has

bui

lt up

leve

lsof

ten

sion

as

the

chap

ter

prog

ress

es t

hat

they

coul

d us

e in

the

ir ow

nw

ritin

g.H

om

ewo

rk

•Pu

pils

re-

read

Cha

pter

s9–

10,

notin

g in

the

irjo

urna

ls k

ey p

hras

es t

hat

desc

ribe

how

Har

per

feel

s.

Plen

ary

•U

sing

OH

T to

pre

sent

thei

r di

spla

y, a

sk t

wo

grou

ps t

o ex

plai

n w

hat

wou

ld h

ave

to b

e do

neto

thi

s in

form

atio

n to

adap

t it

for

the

essa

y(e

.g.

sequ

enci

ng,

linki

ngpa

ragr

aphs

, us

ing

the

lang

uage

of

anal

yse,

revi

ew,

com

men

t).

12

Less

on

12 13

AFs

an

d o

bje

ctiv

es

Wri

tin

g A

F2

•W

r3 F

orm

al e

ssay

Rea

din

g A

F4 &

W

riti

ng

AF2

•W

r1 R

evie

w o

wn

writ

ing

•W

r3 F

orm

al e

ssay

Less

on

fo

cus

Ch

apte

r 11

•In

terp

ret

patt

erns

•A

sk q

uest

ions

•M

ake

judg

emen

ts

•In

fer

and

dedu

ce•

Vis

ualis

e•

Empa

this

e•

Dra

ftin

g

Star

ter/

Intr

od

uct

ion

Lan

gu

age

of

com

par

iso

n

•A

sk p

upils

to

revi

sit

the

star

ter

inLe

sson

3 t

o re

vise

the

lang

uage

of c

ompa

rison

.•

Ask

pup

ils t

o br

ains

torm

wha

tth

e ke

y fe

atur

es o

f fo

rmal

ess

ayw

ritin

g ar

e, u

sing

the

info

rmat

ion

in t

he t

able

as

prom

pts.

Tea

cher

pla

nn

er

Plan

nin

g w

riti

ng

•A

sk t

wo

pairs

to

shar

e th

eir

seco

nd p

arag

raph

fro

m L

esso

n 12

. •

Expl

ain

the

diff

eren

ce b

etw

een

plan

ning

for

con

tent

and

plan

ning

for

ada

ptat

ion.

Teac

her

pla

nn

er

13.1

12.1

Dev

elo

pm

ent

Plan

nin

g f

or

con

ten

t an

d a

dap

tati

on

•A

sk p

upils

to

iden

tify

the

chan

ges

they

wou

ld h

ave

to m

ake

to t

he p

arag

raph

sth

ey w

rote

in L

esso

n 12

if t

hey

wer

ew

ritin

g an

adv

ice

shee

t to

par

ents

cal

led

‘How

to

be a

n ef

fect

ive

pare

nt’.

•M

odel

rew

ritin

g of

the

ope

ning

para

grap

h. A

sk p

upils

to

redr

aft

thei

r ow

npa

ragr

aphs

. Th

is c

ould

be

an o

ppor

tuni

tyfo

r gu

ided

writ

ing.

Pu

pil

wo

rksh

eet

13.2

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

to

writ

e th

ree

poin

ts t

o re

mem

ber

whe

n pl

anni

ng f

orco

nten

t an

d ad

apta

tion.

Ho

mew

ork

•Pu

pils

rea

d ha

lf of

Cha

pter

12

(up

to p

age

142,

‘N

othi

ng b

ut t

heir

beat

ing

hear

ts’).

•Pu

pils

upd

ate

thei

rjo

urna

ls,

focu

sing

on

how

the

cha

ract

ers’

resp

onse

s to

the

the

ft o

fth

e an

imal

s re

flect

the

irch

arac

ters

.

Co

mp

arat

ive

resp

on

se, l

ead

ing

to

fo

rmal

ess

ay

•Sh

ared

rea

ding

of

Cha

pter

11.

•Pu

pils

con

side

r ho

w e

ffec

tive

Har

per’s

par

ents

are

and

how

tru

e th

eop

enin

g se

nten

ce o

f C

hapt

er 1

1 is

. Te

ach

er p

lan

ner

•

Ora

l dis

cuss

ion

in g

roup

s. P

rovi

de p

upils

with

Pup

ilw

orks

heet

12.

2. W

orki

ng in

pai

rs,

ask

pupi

ls t

o pl

an a

for

mal

anal

ytic

al r

espo

nse

that

exp

lore

s ho

w e

ffec

tive

Har

per’s

par

ents

are

.•

Mod

el w

ritin

g of

the

ope

ning

par

agra

ph.

Pupi

ls t

hen

writ

e th

ese

cond

par

agra

ph,

usin

g th

eir

plan

ning

. Th

is c

ould

be

an o

ppor

tuni

tyfo

r gu

ided

writ

ing.

Pu

pil

wo

rksh

eet

12.2

12.1

13

Less

on

14 15

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F4 &

AF5

•R

7 C

om

par

e te

xts

•R

12 R

het

ori

cal d

evic

es

Rea

din

g A

F4

•R1

8 Pr

ose

text

Wri

tin

g A

F3

•W

r12

Effe

ctiv

epr

esen

tatio

n of

info

rmat

ion

Less

on

fo

cus

Ch

apte

r 12

•Re

-rea

d•

Rein

terp

ret

•Su

mm

aris

e•

Pass

judg

emen

ts•

Inte

rpre

tpa

tter

ns

Ch

apte

r 13

•Fo

rm a

ndst

ruct

ure

•Re

-rea

d•

Rein

terp

ret

Star

ter/

Intr

od

uct

ion

Poin

t o

f vi

ew: n

arra

tive

tech

niq

ue;

use

of

iro

ny

•Pr

ovid

e ex

ampl

es f

rom

The

Cur

ious

Inci

dent

of

the

Dog

inth

e N

ight

-Tim

e, w

here

the

narr

ator

mis

ses

the

poin

t. P

up

ilw

ork

shee

t•

Ask

pup

ils t

o ex

plai

n th

e po

int

that

is b

eing

mis

sed

and

the

effe

ct o

n th

e re

ader

.

Form

or

stru

ctu

re?

•Ex

plai

n th

e di

ffer

ence

bet

wee

nfo

rm a

nd s

truc

ture

. A

sk p

upils

to

rela

te t

hese

def

initi

ons

to t

hete

xts

they

are

cur

rent

ly r

eadi

ng in

othe

r su

bjec

ts a

nd t

o ch

oose

one

of t

hese

tex

ts a

nd e

xpla

in it

sfo

rm a

nd s

truc

ture

. Te

ach

erp

lan

ner

15

.114.1

Dev

elo

pm

ent

Poin

t o

f vi

ew: n

arra

tive

tec

hn

iqu

e

•Sh

ared

rea

ding

of

the

rem

aind

er o

fC

hapt

er 1

2.•

Wor

king

in g

roup

s, g

ive

each

gro

up t

hree

or f

our

chap

ters

to

re-r

ead

usin

gsk

imm

ing.

Ask

pup

ils t

o lo

ok f

or m

omen

tsw

hen

the

narr

ator

’s po

int

of v

iew

cau

ses

her

to m

iss

a tr

uth

othe

rs m

ight

see

.Pu

pils

the

n ex

plor

e w

hat

the

trut

h is

tha

tsh

e ha

s m

isse

d an

d w

hat

the

effe

ct o

n th

ere

ader

is.

This

cou

ld b

e an

opp

ortu

nity

for

guid

ed r

eadi

ng.

Stru

ctu

re

•W

orki

ng w

ith t

he s

ame

chap

ters

as

inLe

sson

14,

ask

gro

ups

to r

evis

it th

etim

elin

es o

f ev

ents

in t

heir

jour

nals

tha

tre

late

to

the

allo

cate

d ch

apte

rs a

nd t

och

eck

that

the

ir tim

elin

es a

gree

.•

Focu

s on

the

diff

eren

ces

betw

een

a sh

ort

stor

y an

d a

nove

l. A

sk p

upils

to

expl

ore

the

deriv

atio

n of

the

wor

d ‘d

enou

emen

t’an

d ho

w it

app

lies

to p

lots

. Fo

llow

ing

the

mod

ellin

g of

a d

iagr

amm

atic

repr

esen

tatio

n of

Cha

pter

1,

ask

grou

ps t

odr

aw a

dia

gram

tha

t re

flect

s th

e st

ruct

ure

of t

he c

hapt

ers

they

re-

read

in L

esso

n 14

.Te

ach

er p

lan

ner

15.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•In

Cha

pter

12

(pag

e14

6),

Har

per

says

‘th

istim

e I u

nder

stoo

d’.

Ask

pupi

ls t

o co

nsid

er w

hat

it is

tha

t sh

e un

ders

tood

and

wha

t th

is t

ells

the

read

er a

bout

her

gro

wth

as a

cha

ract

er.

Ho

mew

ork

•Re

ad C

hapt

er 1

3.

•Pu

pils

upd

ate

timel

ine

ofev

ents

.

Plen

ary

•A

sk e

ach

grou

p to

sha

reth

eir

repr

esen

tatio

n of

the

stru

ctur

e of

the

chap

ters

the

y re

-rea

d in

Less

on 1

4 an

d ex

plai

n it

to t

he c

lass

. D

ispl

ay f

orfu

ture

ref

eren

ce.

14

Less

on

16 17

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F2

•R5

Eva

luat

e ow

n cr

itica

lw

ritin

g•

R13

Eval

uate

ow

nre

adin

g

Rea

din

g A

F4, A

F5 &

AF6

•R

12 R

het

ori

cal d

evic

es•

Sn6

Para

gra

ph

org

anis

atio

n

Less

on

fo

cus

Ch

apte

r 14

•Re

-rea

d•

Rein

terp

ret

•Su

mm

aris

e•

Pass

judg

emen

ts•

Pass

com

men

ts

Ch

apte

r 14

•Re

-rea

d•

Inte

rpre

tpa

tter

ns

•Pa

ss c

omm

ents

•Pa

ss ju

dgem

ents

Star

ter/

Intr

od

uct

ion

Pace

an

d p

assa

ge

of

tim

e

•A

sk p

upils

to

list

(in o

rder

) th

era

nge

of e

mot

ions

tha

t H

arpe

rfe

els

durin

g C

hapt

er 1

4 an

d to

cons

ider

wha

t th

e pa

ssag

e of

time

is in

thi

s ch

apte

r.

Dev

elo

pm

ent

Pace

an

d p

assa

ge

of

tim

e

•A

sk p

upils

to

re-r

ead

by s

cann

ing

Cha

pter

14 a

nd t

o m

ark

on ‘

Post

-it’

note

s w

hat

the

pace

of

the

chap

ter

is o

n ea

ch p

age.

Pupi

ls c

ompa

re t

heir

answ

ers

with

are

spon

se p

artn

er.

•U

sing

the

not

es f

rom

Les

son

10 o

nbu

ildin

g pa

ce,

ask

pupi

ls t

o w

ork

in p

airs

and

to f

ocus

on

one

part

icul

ar e

xtra

ct a

ndan

nota

te it

, co

ncen

trat

ing

on h

ow t

heau

thor

alte

rs t

he p

ace

with

in C

hapt

er 1

4.Th

is c

ould

be

an o

ppor

tuni

ty f

or g

uide

dre

adin

g.

Plen

ary

and

Ho

mew

ork

Plen

ary

•Pu

pils

sha

re t

heir

findi

ngs,

dis

cuss

ing

the

way

s in

whi

ch t

heau

thor

has

con

trol

led

the

pace

in C

hapt

er 1

4 an

dex

plor

ing

how

the

seco

uld

be u

sed

in t

heir

writ

ing.

Ho

mew

ork

•Re

ad C

hapt

er 1

5.

Rea

din

g jo

urn

als

•Re

ad C

hapt

er 1

4.•

Ask

pup

ils t

o re

flect

on

the

deve

lopm

ent

of t

heir

jour

nals

. W

orki

ng in

pai

rs,

pupi

ls f

ocus

on

one

chap

ter,

re-r

ead

it an

d co

mpa

re a

nd d

iscu

ss t

heir

resp

onse

s to

it.

Pupi

ls t

hen

cons

ider

how

the

y ha

ve r

ecor

ded

thei

r id

eas

and

deci

de w

heth

er t

here

is a

nyth

ing

they

wou

ld c

hang

e or

add

in t

he li

ght

of t

heir

rece

ntre

adin

g, t

heir

disc

ussi

ons

with

eac

h ot

her

and

as t

he c

lass

. A

sk p

upils

to

eval

uate

how

use

ful t

he jo

urna

lha

s be

en in

sup

port

ing

the

deve

lopm

ent

of r

espo

nses

to

Thur

sday

’s C

hild

.•

Pupi

ls t

hen

upda

te t

heir

jour

nals

, ad

ding

any

exa

mpl

es o

f fo

resh

adow

ing

and

irony

.

15

Less

on

18

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F2, A

F3 &

AF6

•R5

Eva

luat

e ow

n cr

itica

lw

ritin

g•

R7

Co

mp

are

text

s •

R18

Pros

e te

xt

Less

on

fo

cus

Ch

apte

r 15

•Em

path

ise

•In

terp

ret

patt

erns

•Re

-rea

d •

Dra

ftin

g•

Rela

te t

o ow

nex

perie

nce

Star

ter/

Intr

od

uct

ion

Imag

ery

•W

orki

ng in

thr

ees,

ask

Pup

il A

to

find

exam

ples

of

anim

al im

ager

yin

Cha

pter

13,

Pup

il B

in C

hapt

er14

and

Pup

il C

in C

hapt

er 1

5.

•Pu

pils

the

n lin

k th

ese

exam

ples

to d

enot

atio

n an

d co

nnot

atio

nan

d id

entif

y w

hich

imag

es a

repo

sitiv

e an

d w

hich

are

neg

ativ

e,co

nsid

erin

g ho

w t

hey

add

to t

hech

arac

teris

atio

n.

Dev

elo

pm

ent

Plen

ary

and

Ho

mew

ork

Shar

ed r

ead

ing

of

Ch

apte

r 16

•A

s pu

pils

rea

d, a

sk t

hem

to

note

ref

eren

ces

to T

in,

focu

sing

on

how

he is

des

crib

ed a

nd w

hy.

•Pu

pils

the

n no

te a

ll re

fere

nces

to

the

seas

ons,

foc

usin

g on

how

the

shift

s in

ton

e in

the

nov

el a

re m

irror

ed b

y th

e se

ason

s (a

fter

the

colla

pse

of t

he s

hant

y an

d th

e de

ath

of C

affy

) an

d ho

w t

his

chan

ges

at t

he e

nd.

•Pu

pils

exp

lore

wha

t H

arpe

r m

eans

in t

he f

inal

line

of

the

nove

l.•

Ask

pup

ils t

o re

visi

t th

e ch

apte

r st

ruct

ure

diag

ram

s fr

om L

esso

n 15

and

to c

ompl

ete

a di

agra

mm

atic

rep

rese

ntat

ion

of C

hapt

ers

14–1

6.•

Ask

pup

ils t

o re

visi

t th

e fiv

e qu

estio

ns (

Less

on 1

) th

at t

hey

wer

eho

ping

wou

ld b

e an

swer

ed a

t th

e en

d of

the

nov

el a

nd t

o co

nsid

erw

heth

er t

heir

ques

tions

hav

e be

en a

nsw

ered

. •

Pupi

ls t

hen

revi

sit

thei

r pr

edic

tions

(Le

sson

2)

of w

hat

the

final

tw

olin

es o

f th

e no

vel w

ould

be

and

cons

ider

how

the

end

ing

is d

iffer

ent

from

the

one

the

y an

ticip

ated

. A

sk p

upils

to

expl

ain

the

diff

eren

ces.

16

Less

on

19 20

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F2 &

AF6

•R1

8 Pr

ose

text

Rea

din

g A

F4 &

AF6

•R1

3 Ev

alua

te o

wn

read

ing

•R1

8 Pr

ose

text

Less

on

fo

cus

Ch

apte

r 16

•In

terp

ret

patt

erns

•Pa

ss c

omm

ents

•Re

inte

rpre

t

Ch

apte

rs 1

& 1

6

•Re

inte

rpre

t•

Re-r

ead

•In

terp

ret

patt

erns

•Pa

ss c

omm

ents

•Pa

ss ju

dgem

ents

Star

ter/

Intr

od

uct

ion

Effe

ctiv

e en

din

gs

and

reso

luti

on

s

•A

sk p

upils

to

cons

ider

wha

tm

akes

an

effe

ctiv

e en

ding

. •

Ask

pup

ils t

o co

nsid

er t

o w

hat

exte

nt t

hey

thin

k th

e en

ding

of

the

nove

l is

a sa

tisfa

ctor

yde

noue

men

t (L

esso

n 15

).

Dev

elo

pm

ent

Beg

inn

ing

s an

d e

nd

ing

s

•G

roup

tas

k fo

cusi

ng o

n ho

w e

ffec

tive

the

endi

ng is

.•

Div

ide

the

clas

s in

to g

roup

s of

eig

ht a

ndth

en s

ubdi

vide

the

gro

ups

into

tw

o gr

oups

of f

our,

one

grou

p la

belle

d G

roup

A a

ndth

e ot

her

Gro

up B

.•

Ask

Gro

up A

to

re-r

ead

the

open

ing

chap

ter

and

the

resp

onse

s th

ey m

ade

inth

eir

jour

nals

. Pu

pils

the

n co

nsid

er h

owH

arpe

r de

scrib

es h

erse

lf at

the

beg

inni

ngof

the

nov

el a

nd d

iscu

ss w

heth

er t

his

isho

w s

he is

at

the

end

of t

he n

ovel

. A

skpu

pils

to

refe

r to

the

ir di

agra

mm

atic

repr

esen

tatio

n of

the

str

uctu

re o

fTh

ursd

ay’s

Chi

ldan

d to

iden

tify

whi

chev

ents

cha

nged

Har

per’s

cha

ract

er.

•A

sk G

roup

B t

o lin

k th

e en

ding

of

the

text

with

oth

er c

limac

tic p

arts

. •

Refe

rrin

g to

the

dia

gram

mat

icre

pres

enta

tions

the

y ha

ve d

raw

n, p

upils

draw

tog

ethe

r th

e na

rrat

ive

thre

ads,

show

ing

how

the

the

mes

hav

e be

ende

velo

ped

and

reso

lved

.

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

to

revi

ew t

hera

nge

of r

eadi

ngst

rate

gies

the

y ha

ve u

sed

in t

his

unit.

•Pu

pils

the

n id

entif

yw

hich

str

ateg

ies

they

feel

mos

t co

nfid

ent

abou

t us

ing

and

whi

chw

ould

be

good

stra

tegi

es t

o ta

rget

for

the

futu

re.

Plen

ary

•A

sk G

roup

s A

and

B t

ore

join

and

fee

d ba

ck t

oea

ch o

ther

. N

BTh

is c

ould

be

deve

lope

d in

to a

nan

alyt

ical

writ

ten

resp

onse

(W

r16

Bala

nced

ana

lysi

s).

Ch

arac

teri

sati

on

an

d t

hem

es

•A

sk p

upils

to

expl

ore

the

role

of

the

mal

e ch

arac

ters

in t

he n

ovel

, fo

cusi

ng o

nho

w t

hey

act

as f

oils

to

each

oth

er a

nd t

o th

e fe

mal

e ch

arac

ters

in t

he n

ovel

and

how

the

y po

rtra

y th

e th

emes

. Pu

pils

the

n di

scus

s w

hat

Tin’

s ro

le is

inej

ectin

g H

arpe

r fr

om t

he t

unne

l and

con

side

r w

heth

er it

con

stitu

tes

a‘r

ebirt

h’.

This

cou

ld b

e an

opp

ortu

nity

for

gui

ded

read

ing.

Pu

pil

wo

rksh

eet

19.1

© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.

Book reviews – Thursday’s Child1 Read the following reviews of the novel Thursday’s Child. Working in small groups, compare

the reviews and note down the issues that you think will be explored in the novel.

2 Do you have any questions after reading the reviews? Discuss these in your groups.

The following reviews have been extracted from The Guardian (see www.guardian.co.uk):

Pupil worksheet 1.1Lesson 1

Context

As a group we have:

• explored how to moderate our ideas, using the language ofconsidered viewpoint (see the reminder below).

Now you are going to decide what issues you think will explored inThursday’s Child, using reviews and images.

Objectives• S&L9 Considered viewpoint

• Wr2 Exploratory writing.

17

Sonya Hartnett’s Thursday’s Child involves a family coping with the Great Depression inAustralia and has, as 12-year-old Maisie Ireland neatly put it, ‘more plots than anallotment’.

The narrator, Harper Flute, has a father who is driven to alcoholism and a younger brotherwho, as 14-year-old Kate Smith wrote, ‘escapes from the life of poverty into the shadowyworld under the earth’. Jamie Goodland, 13, was impressed by the characterisation and theunflinching way that Hartnett confronted the conditions of the Depression. AnnaMcCormack, 13, was intrigued by the deliberate gaps in the story created by the first-person narrative. ‘Because we only see things from the young Harper’s viewpoint, thereader sometimes has to guess the facts.’ Harper’s grasp of adult reality is put togetherfrom overheard conversations; her understanding of her waxy-skinned, burrowing brother istainted by fantasy. ‘But Harper’s down-to-earth tone makes even the most dramatic scenesseem realistic.’

Extract from The Guardian (24/09/2002)

In Sonya Hartnett’s Thursday’s Child, Harper Flute records her family’s struggle for life itselfas the Great Depression grips Australia. Harper watches helplessly as her father descendsinto alcoholism while the rest of the family struggle to keep going. Always in thebackground is the shadowy figure of Tin, Harper’s brother, who lives in a lair of tunnels.Though mostly unseen, Tin protects the family and, ultimately, saves them.

Extract from The Guardian (14/09/2002)



18

Unemployed match seller’s sign.

Please help me to ‘turn the corner’. 2 years out of work. Matches 1dper box. Poverty in the land of plenty. SOS!

Pegged rabbit skins in theforeground, possum skinsin the background.

During the Depression Ericand Bob trapped rabbits andpossums for their skins. Sixtyto seventy rabbit traps wereset each night. Possumswere either shot bymoonlight or snared. Possumskins were worth aboutthree shillings and rabbitskins about 6d–9d perpound. There were about sixgood skins to a pound oreight to nine mediocre ones.

1 Look at the images and the information below. What can you learn about the society that isreflected in these pictures? Be prepared to feed back to the class.

Teaching objectives• R6 comment on the authorial perspectives offered in texts on individuals,

community and society in texts from different cultures.

Focus• Narrative voice.

Introduction to narrative/authorial voiceExplain to the pupils that point of view – first person, third person – are critical to a writer and reader: a story can’tbe written without using point of view.

Narrative voice

Focus the pupil’s attention on the two main points of view which are:

• third person narration (identified by pronouns such as he, she, they) – the narrator stands outside the story

• first person narration (identified by the pronoun ‘I’) – the narrator participates in the story.

Ask pupils to identify the narrative voice in something they are reading at the moment. Is it third or first person?Ask them to explain to each other the advantages and disadvantages of using first or third person (see explanationabove) and take feedback.

Omniscient narrator

Because they are outside the story, the third person narrator can be omniscient (all seeing and hearing). This meansthat they can:

• intrude (pass comment, evaluate, judge)

• be neutral (describe without commenting, or evaluating or judging).

The story is told as if it is coming directly from the minds of the character(s), but the narrative voice has access tosome of these minds and can therefore manipulate the reader to respond in a certain way.

First person narrator

The first person narrator is usually a character within the story and is therefore limited in their understanding of thestory – they will only see things from their point of view. They can be:

• an observer who happens to see/witness the events in the story or plays a minor role in the action

• the main character.

In pairs, ask pupils to identify the ‘voice’ in Thursday’s Child and find an example that supports their view. Explainto the pupils that they are now going to develop this further. Ask pupils if anyone else, besides Harper, has a voicein the story.

Authorial voice

The characters are not the only ones that have a voice in thestory. The impression that the reader has of the author, the‘teller’ of the tale, also influences their experience of the story.For this reason, a distinction is sometimes made between thenarrative voice and the authorial voice. The authorial voice is acontrolling presence regarded by the reader to be a ‘guidingpersonality’ behind the story and therefore behind thecharacters. It can be seen in the author’s method of expressionand use of language (e.g. direct address, use of brackets).

Teacher modelling

Before pupils begin to explore the differences between the narrative voice and the authorial voice, using Pupilworksheet 2, model the first example shown on the worksheet, articulating what Harper is telling the reader aboutthe character of Tin and what the author is saying at this point. Check pupil understanding and then give each pairof pupils one of the extracts from the worksheet to explore, using the same structure that has been modelled.

19

Teacher planner 2.1Lesson 2

First person - Third person – omniscientone viewpoint (all seeing/all hearing)

Characters

Narrative voice

Authorial voice


1 Read the following five short extracts from Chapter 1 of Thursday’s Child. Choose oneextract and using the same structure as the modelled example below, explore the following:

a) What does Harper tell the reader about the characters? (Narrative voice)

b) What do you, the reader, think?

c) What is the author saying at this point? (Authorial voice)

d) What is the effect on you, the reader?

Extract 1 It’s proper I mention Caffy because Caffy was born the day Tin learned to dig and everyonesays that if it hadn’t been for Caffy coming then things might have been different, though noone really believes that’s so. (page 4)

Extract 2 Besides, his being born was what put an end to the coddling days of my own. ‘Come on, Tin,’I said, and gave his arm a bit of a yank for vengeance. (page 5)

Extract 3Da was saying nothing, his teeth jammed into his lip; after a time he started hissing and I madeout the words he was hissing. He was saying, ‘Take the new one instead. Take the new oneinstead.’ (page 11)

Extract 4 I stepped away because I didn’t want to be the first to touch him, to catch a lock of hair in myfingers or scratch his soft cheek with my nails. (page 12)

Extract 5Da hugged him to his heart and burst out weeping – noisy weeping, that shocked me – I Neversaw my Da, before or afterwards, do anything like that, and Devon and I were riveted to thespot. (page 12)

Modelled example


20

Narrative voice First person one viewpoint

Harper says ‘I never saw Tin an old man or even a young one, so he stays just a boy in mymind. Tin’s bound up in childhood forever.’ (page 3)

What you, the reader, thinks

The reader knows that Tin is her brother, but that something happened to him so that hewas only ever part of her childhood, not her adulthood.

Authorial voice – what is the author saying?

The author (Hartnett) is using Harper’s voice as a narrative hook.

What is the effect on you, the reader?

We want to keep reading to find out why Harper never saw her brother grow up. Harperhas strong childhood memories of him, so they must have been close.



21

1 a) Select one of the texts below and identify what type of text it is. How do you know?

b) Explore the features of the text, using annotation as you have been shown by your teacher. Focus on word and sentence level features.

c) Using the language of comparison, decide which extract most effectively describes the conditions of life in the trenches.

For the soldiers, conditions were terrible. Rain and cold were constant problems. Artilleryfire destroyed the drains, so the battlefields became quagmires of mud – often, mendrowned in the mud. Sanitary arrangements were unsatisfactory, and disease killed as manymen as the enemy. The hundreds of human corpses made disease (and flies) inevitable, andtrench rats grew fat on human flesh. And thousands of casualties. Antibiotics had not yetbeen discovered, and – in the dirt – even a small wound often led to blood poisoning,gangrene and death.

Extract from Conditions in the Trenches by John Clare

Bent double, like old beggars under sacks,

Knock-kneed, coughing like hags, we cursed through sludge,

Till on the haunting flares we turned our backs

And towards our distant rest began to trudge.

Men marched asleep. Many had lost their boots

But limped on, blood-shod. All went lame; all blind;

Drunk with fatigue; deaf even to the hoots

Of disappointed shells that dropped behind.

Extract from ‘Dulce et Decorum Est’ by Wilfred Owen

Last time over the bags was rather terrible. The few who managed to pull themselves out ofthe waist-deep mud had to stand on the top and pull others who were stuck out of thetrenches. Imagine doing that with machine guns hard at work, to say nothing of snipers. Oneman I know of was drowned in the mud. Another was only extricated by eight men.

Extract from a letter by Reverend Cyril Lomax to Doris Sternberg, 7 September 1916

Frontline trenches should be dug so that they are about seven feet deep and about six feetwide. Ensure that the trenches are dug following a zigzag pattern to prevent the enemyfrom shooting straight down the line. Place sandbags on both sides of the top of the trenchto absorb enemy bullets.

Extract from The trench system

Jack Firebrace lay forty-five feet underground with several hundred thousand tons of Franceabove his face. He could hear the wooden wheezing of the feed that pumped air throughthe tunnel. … His back was supported by a wooden cross, his feet against the clay, facingtowards the enemy. With an adapted spade, he loosened quantities of soil into a bag whichhe passed to Evans, his mate, who then crawled away in the darkness. Jack could hear thehammering of timbers being used to shore up the tunnel farther back, though where heworked, at the face, there was no guarantee that the clay would hold.

Extract from Birdsong by Sebastian Faulks


For the soldiers, conditions were terrible. Rain and coldwere constant problems Artillery fire destroyed the drains,so the battlefields became quagmires of mud – often, mendrowned in the mud. Sanitary arrangements wereunsatisfactory, and disease killed as many men as theenemy. The hundreds of human corpses made disease (andflies) inevitable, and trench rats grew fat on human flesh.And thousands of casualties. Antibiotics had not yet beendiscovered, and – in the dirt – even a small wound oftenled to blood poisoning, gangrene and death. Perhaps worsewas to recover, profoundly disabled or mutilated.

Extract from Conditions in the Trenches by John Clare

Frontedprepositionalphrase placessubject first

Nouns elaboratethe conditions

Dash provides apause before thefinal impact

Noun phraseadds detail

Noun phrasesadd to thepicture

Minor sentencebreaks pattern oftwo simple andtwo compoundsentencesAdverbial

phrase addsdetail and isseparated foremphasis

Intensifyingadverb foremphasis

Repetition ofsimple sentencestructure foremphasis.Starkness bringsthis home

Use ofparenthesis foremphasis –almost anafterthought

Use ofconjunction addsdramatic impact

Fronted foremphasis

Two compoundsentences, withnoun phrases fordetail

Lesson 3 Teacher planner 3.1

22

Modelled reading

Adverb ofdoubt suggeststhat to live isnot a good idea

Pattern of threefor rhythm andimpact

Teaching objectives• Sn4 integrate speech, reference and quotation effectively into what they write.

Focus• Chapter 2.

Use the example and the grid below to model analytical comment, integrating speech, reference and quotationinto an oral response. Then model a short written review of the example.

Example

Birdsong

In the opening line the writer describes Firebrace’s position underground. The phrases ‘forty-five feet underground’and ‘several hundred thousand tons of France’ provide the detail. This detail conveys a sense of just how deepFirebrace is underground, highlighting the vividness of the experience. In addition, the use of the word ‘France’emphasises how small and lost Firebrace is underground.

Pupil task

Provide pupils with a copy of the grid below and ask them to complete a short written review of one text, usingpoint/example/ explanation.

23


POINT

In the opening line the narrator talks about

final lines s/he describes

focuses on

compares … to …

suggests

uses … to …

EXAMPLE

For example, ‘ quotation’

For instance, ‘quotation’

This is illustrated when the writer suggests …

This is highlighted when the narrator says …

The words ‘… ‘ and ‘… ‘

The phrase ‘… ’

The description of …

The alliteration of …

The choice of …

EXPLANATION

This/which

creates the/an impression of/that …

shows that .…

emphasises that .…

makes the reader feel that …

suggests that …

conveys a sense of …

highlights the …

illustrates …


Group task1 Read Chapter 3.

2 Draw a mind-map that reflects the relationships between the members of the Flute family.Put Harper in the middle of the map and draw links between the characters. On the linkswrite down key words that describe the nature of the relationship between the characters.You will need these mind-maps again in a later lesson so keep them safe.

3 Now work in pairs. Each pair should choose a character to focus upon. You are going toexplore the explicit and implicit meanings in the chapters that you have read so far. Underyour character, make a list of two things that you know to be based on fact and support thiswith evidence from the text. You may want to copy the grid below into your readingjournals and use this to help you.

4 Find two things that are implied about your character and write the supporting evidence forthis.

5 How do these implicit meanings affect the relationship between your chosen character andthe other members of the family?

6 Share your findings with the rest of your group and together annotate your mind-map sothat the group’s ideas are reflected.


Context

As a group we have:

• explored the voice in Thursday’s Child

• seen how to annotate a text, exploring the features of the text

• read a range of texts, using the language of comparison to compareand contrast

• seen how this can be developed into a short written review of a text.

Now you are going to explore inference and deduction in thecharacterisation of Thursday’s Child.

Objectives• W7 Layers of meaning

• S&L9 Considered viewpoint.

24

Character Explicit Evidence Implied Evidence How is this affecting the characters’relationship?

• Da • Mam always saidwe weren’t totalk to Da aboutthings like mud,but she neversaid why.

• Harper knows thereare aspects of herfather that shemustn’t ask about,but she doesn’t knowwhy. This makes herwary of him.

• Somethingfrom hispast hasaffectedhim badly.

Teaching objectives• W7 recognise layers of meaning in the writer’s choice of words, e.g.

connotation, implied meaning, different types or multiple meanings

• S&L9 discuss and evaluate conflicting evidence to arrive at a consideredviewpoint.

Focus• Chapter 3

• Inference and deduction.

Introduction to taskUsing the same structure as the group task on Pupil worksheet 4.1, work with a group of pupils who are lesssecure with inference and deduction.

Strategy check

Working in pairs, ask pupils to explain to each other the following definitions:

• Inference: forming an opinion that something is probably true because of other information that you alreadyknow

• Deduction: the process of making a judgment about something, based on the information that you have. Askpupils to explain how this is different from literal interpretation.

Independent reading and related task

Ask pupils to read Chapter 3 and as they read ask them to jot down examples of inference or to note questionsabout the characters.

Return to text: developing response

Ask pupils to work through stages two–five of the group task using Pupil worksheet 4.1 for guidance. Listen andguide pupils, where appropriate.

Review

To secure the pupils’ understanding of inference and deduction, ask each pair to think of one question (based onthe first three chapters) about their character that invites their peers to infer and deduce. They should be preparedto share these during the whole class plenary.

25

Guided session planner 4.2Lesson 4


connotation, implied meaning, different types or multiple meanings.

Focus• Chapters 4–5

• Denotation and connotation.

An introduction to denotation and connotationExplain the following definitions of denotation and connotation to the pupils:

• Denotation refers to the surface meaning of a word

• Connotation refers to the associations which we bring to the meanings of words. These can be neutral,positive or negative.

Deepening engagement

Ask pupils to explain why a writer would need to know about denotation and connotation. Explain that it isthrough using connotation and denotation that a writer can create bias, thus manipulating the reader’sperceptions. In this way a character can be viewed sympathetically (the hero) or with antipathy (the enemy).

Pupil task 1

Ask pupils to note examples of how the author, through the use of denotation and connotation, creates a sense ofpower in the character of Mr Vandery Cable and explore the effect of this. (Ask higher-attaining pupils to exploredenotation and connotation in a range of texts in which there are different interpretations of meaning, forexample, the extracts describing conditions in the trenches in Lesson 3).

26



connotation, implied meaning, different types or multiple meanings.

Focus• Denotation and connotation.

Pupil task 1

Write some of the nouns and adjectives below on the board. Ask pupils to identify which age group they areroutinely applied to. Ask pupils to think of other nouns and adjectives which can be used to describe old people.

Pupil task 2

Emphasise that words with both positive and negative connotations can be adverbs, verbs, adjectives or nouns.Present the table below on the whiteboard:

Provide pupils with a copy of the grid below and ask them to place the nouns and adjectives used to describe oldpeople, listed on the board, in the appropriate column.

27


• Well preserved

• OAP

• Crotchety

• Spry/sprightly

• Over the hill

• Decrepit

• Crusty

• Old

• Getting on a bit

• Elderly

• Aged

• Senior citizen

• Fogey

• Saintly

• Feisty

• Biddy

• Ancient

• Battle axe

• In your prime

• Mature

Word class Positive connotation Negative connotation

Noun pedigree hound mutt

Verb stroll stagger

Adverb ecstatically wretchedly

Adjective fragrant fetid

Positive connotation Neutral Negative connotation

Teaching objectives• R16 analyse ways in which different cultural contexts and traditions have

influenced language and style, e.g. black British poetry, Irish short stories.

Focus• The importance of nature and the landscape in the novel.

Pupil task 1

Share the following quotation with the class. Ask pupils to revisit their timelines in their reading journals and tospend a few minutes ensuring that the seasons are mapped in.

Pupil task 2

Ask pupils to read the following extracts, explaining that the extracts have been written by a range of famousAustralian writers. Working in pairs, ask pupils to place the extracts on a continuum, from the most negativeportrayal of the Australian outback to the most positive. Then ask pupils to decide where Thursday’s Child shouldbe placed on the continuum.

Pupil task 3

Even when the weather/landscape is described as being harsh, it can have positive connotations. Divide the classinto seven groups and give each group a chapter to ‘skim re-read’. They should look for specific references tonature, seasons, weather and the landscape and note whether they have positive and negative connotations. Thesereferences and their effect should be recorded on sugar paper and displayed in chronological order around theclassroom. Keep these for use in a later lesson.

28


Sonya Hartnett's writing almost always leaves me with a strong resonance for both the emotional and physicallandscape of her characters in their settings, more so than for the chronology of her stories or the detail of hercharacters.

Chris Thompson in Viewpoint 7 (3) Spring 99 (page 30)

It was wet and sludgy that winter, just as Mr Campbell had forecast it should be, and the soles of Da’s bootswould be baubled with clods when he came in from rabbiting . . . but the sludge and the water and the sheercoldness of the days couldn’t hold Da at the shanty, the smallness of which kept it warm.

Extract from Thursday’s Child (Chapter 7: page 68) by Sonya Hartnett

There is nothing to see, however, and not a soul to meet. You might walk for twenty miles along this trackwithout being able to fix a point in your mind, unless you are a bushman. This is because of the everlasting,maddening sameness of the stunted trees.

Extract from The Drover's Wife by Henry Lawson

That wild dreamland termed the ‘bush’ was an accumulation of absences – songless birds, flowers with noperfume, and forests where no leaves fell.

Extract from For the Term of His Natural Life by Marcus Clarke

And down by Kosciuko, where the pine-clad ridges raise

Their torn and rugged battlements on high,

Where the air is clear as crystal, and the white stars fairly blaze

At midnight in the cold and frosty sky,

And where around the Overflow the reedbeds sweep and sway

To the breezes, and the rolling plains are wide

Extract from The Man from Snowy River by A B ‘Banjo’ Paterson

Teaching objectives• Sn1 review and develop the meaning, clarity, organisation and impact of complex

sentences in their own writing

• Sn6 compare and use different ways of opening, developing, linking andcompleting paragraphs

• Wr11 make telling use of descriptive detail, e.g. eye-witness accounts, sportsreports, travel writing.

Focus• Chapter 3 (pages 32–37)

• Manipulation of reader response.

Modelled readingModel a close reading of the opening paragraph of the novel, focusing the pupils’ attention on sentence levelfeatures.

Working with the whole class, create a frame that reflects the structure of this paragraph. Use the following pointsas prompts when creating the writing frame with the pupils:

29


The house glittered because the wood it was made fromhad been polished for half a century by straw, which hadleft behind it not only a deep honey gloss but also itssmell, sweet, and heart-warming. On some of the planksyou could see the dents of pitchforks jabbed by boys whowould be men now, or by men who would be old. Youcould see their writing, figures scrawled in chalk as they’dcounted off the bales. You could see where they had takenout their pocket knives and shaved the planks when idleand bored. But mostly you could see the shine of all of thatstraw, blinding at sunset, glorious at dawn. The new housewas a palace.

Extract from Thursday’s Child

Evokes sense ofsight and smell

Multiple sentence– subordinationused to add detail

Modal verbsuggestspossibility

Adverbial phraseadds detail andplaces the readerin the text

Powerful verb.Also note otherpowerful verbs:‘polished’,‘scrawled’,‘counted’ and‘shaved’

Use of antonymcreates sense oftime passing andtherefore history

Compoundsentence forvariety

Repetition of‘you could see’ –direct, repeatedappeal to reader

Use ofantonyms foremphasis

Repetition drawslink to opening ofparagraph

Ends with simplesentence for effect

Co-ordinatinguse ofconjunction foremphasis


Sentence One – begin with a multiple sentence (a main clause and two subordinate clauses) to introduce theobject being described. Include an appeal to the senses of smell and sight.

Sentence Two – begin with an adverbial phrase and end the sentence with an antonym.

Sentences Three and Four – begin with ‘You could see … ‘

Sentence Five – begin with ‘But mostly you could see … ‘. End sentence five with another antonym.

Sentence Six – end with a simple sentence, set on a new line for impact.

Don’t forget – use powerful verbs, extended noun phrases and modal verbs which suggest possibility.

Teaching objectives• R12 analyse and discuss the use made of rhetorical devices in a text.

Focus• Chapter 10

• Narrative style.

Starter activityUsing their journals to record their ideas, ask pupils to brainstorm how a writer can build tension, focusing onbalance of dialogue/description, sentence variety, questions, powerful verbs and repetition.

Pupil task 1

Working in pairs, ask pupils to draw a tension graph of Chapter 10, showing how the levels of tension and pacechange as the chapter progresses. Use the example of a tension graph for Chapter 1 below as a model, if thepupils are unsure.

PLOT

Pupil task 2

Ask pupils how Hartnett creates the change in tension. Using the brainstorm from the starter activity, ask pupils toidentify the techniques that have been used in Chapter 10 at the key points of tension that they have identified onthe tension chart. Use the following features as prompts:

• Tense shifts, from modality, suggesting possibility, to past tense, suggesting defeat and hopelessness: ‘He shouldhave been behind me, but he wasn’t.’ (page 115)

• Shifts in sentence structure, with fronted adverbials to add detail, non-finite verbs to suggest timelessness, and arun of compound sentences, followed by a simple sentence – always a good technique for building tension: ‘Ithought he must have shrunk to the size of a gnat and was perched on a blade. I dipped a hand in the grassand my hand kept dipping until my arm had disappeared into the earth. I slashed aside the grass and stared,aghast. In the ground before me was one of the holes dug by the well-sinker. After all this time it gaped still, itsragged black mouth snarling open. It was dry inside, but it was deep and narrow. Caffy had fallen down it.’(pages 115–116)

• Clearly told from one viewpoint – note the repetition of ‘I’ pronouns. The focus is on Harper’s emotional stateand how this is exemplified physically, from feeling sick to actually injuring herself in the attempt to retrieveCaffy from the well: ‘Gagging, I threw the rope aside and plunged my head in the hole, crashing my ribs againstthe earth and shearing skin from my shin.’ (page 116)

• Placing the action against the shadow of a ticking clock. Time is running out for Caffy. There is only a fixedwindow of opportunity after which all is lost. This is highlighted by the tension between the characters: ‘Whyweren’t you watching him, Audrey?’ (page 117)

• The rift that arises as Mam and Da argue over whether Harper should be sent down the well is highlightedfurther by their descriptions: ‘Sweat was flooding down Da’s crimson face, while Mam was as white as a cloud.’(page 119)

• The use of the weather as oppressive and adding to the rise in tension: ‘The sun suddenly grew hotter, youcould feel it like a scald in your skin. (page 114)

30


Climax – Tinis buriedalive.

TEN

SIO

N

Precipitating incident – Harper‘s mother is inlabour, so Harper has to take Tin off to play.

Denouement – Da doesn’tbelieve that Tin could dighimself out, but Harperknows better. The tension ishigher at the end of thechapter, because the readerwants to know what willhappen to Tin and Harper.

Falling action – Tin freeshimself.

Rising action – Harper isincreasingly irritatedbecause she has toamuse Tin.

Tension is maintained as Dastruggles to free Tin.

Teaching objectives• Wr3 produce formal essays in standard English within a specified time,

writing fluently and legibly and maintaining technical accuracy whenwriting at speed.

Focus• Chapter 11

• The language of comparison.

Pupil task 1

Ask the class to brainstorm what the key features of formal essay writing are (e.g. analyse, review, comment). Usethe information in the table below as prompts:

Text level

• Opening paragraph provides a statement or summary of the issue.

• Paragraphs are linked together, using connectives that relate to logic e.g. of course, this reveals that, whereas.

• Concluding paragraph draws ideas together and reinforces opinion.

Sentence level

• Each paragraph has a topic sentence which is developed and supported with examples, details and quotations.

• Sentences are varied.

• Modal verbs are used for emphasis.

• Adverbs and adverbial phrases are used to add detail.

• Rhetorical questions are used to draw the reader in.

• Impersonal sentences are used to imply authority.

Word level

• Judgemental vocabulary is used e.g. superlatives (worst, best).

Pupil task 2

‘My mother and father had held up the sky, the sun, the stars and the moon, but they didn’t anymore.’ (page 126)

Ask pupils whether the above quotation tells us more about Harper, or her parents? Give pupils one minute todiscuss and then take feedback.

Pupil task 3

Working in pairs, ask pupils to plan a formal analytical response that explores how effective Harper’s parents areusing Pupil Worksheet 12.2.

31



Parents. To be a parent must be the most difficult job in theworld, and yet most people hope to become a parent oneday. To be effective as a parent would demand perfectionand yet most parents fall short of perfection. This,however, does not dent a child’s love for their parents. Thisis reflected in the portrayal of Harper Flute’s parents inThursday’s Child; they both obviously love their childrenand this love is returned. Yet they fall far short of beingeffective as parents.

Lesson 12 Pupil worksheet 12.2

32

1 You are going to write a formal essay that analyses how effective Harper’s parents are. Look at the plan below before you start to plan your essay.

The first paragraph is done for you. Look at the techniques the writer has used and then draftthe rest of the essay. Try to use the techniques that have been used in the first paragraph.

Minor sentencefor impact

Use of passivevoice

Superlative usedfor emphasis

Use ofconnective tosuggest counterargument

Impersonalconstructionsuggestsauthority

Statement of theissue

Repetition foreffect

Adverb to adddetail

Use of repetitionfor emphasis

How effective are Harper’s parents?

Paragraph One – modelled by the teacher.

Paragraph Two – focus on Da and his role. He has trouble accepting reality and isdetermined to live by his dreams and those of his children (Devon’s horse, for example), tothe detriment of his children. Yet he loves them and has a very close bond with each ofthem. He sets out the boundaries for them and they respect him – initially.

Paragraph Three – focus on Mam. She exhibits courage and strength in the face ofadversity and yet she doesn’t feature as much as Da in the children’s lives.

Conclusion – both parents have different strengths, but both have their own huge failings.It is probably because of these differences that between them they don’t make too bad ajob of bringing up their children, given the huge disasters that happen.

Teaching objectives• Wr1 review their ability to write for a range of purposes and audiences, recognising

strengths and identifying skills for further development.

Focus• Planning for content and adaptation.

Planning for content and adaptationPupils tend to be more confident when planning for content than they are when planning for adaptation. A goodway to secure adaptation skills is to take the same topic and explore how a change in purpose, style and audienceaffects the overall structure and style of the writing. A repertoire of planning techniques which develop differentaspects of planning can be developed. These techniques need to be taught explicitly and then customised fordifferent types of writing.

To support pupils in planning for content, model the use of graphic organisers. Design a graphic organiser thatreflects one particular genre e.g. the instruction genre (see model below):

instruction

Then remodel the organiser so that it would support planning for a persuasive text (see model below):

persuasion

Once pupils have understood the concept of adapting the structure, they can then begin to explore how thelanguage features may change – planning for adaptation.

One way to do this is to model for the pupils how the key features of the two text types have changed. Theexample below builds on Lesson 12.

33


The language of writing to advise

Text level

• Opening paragraph provides a statement.

• Clear relationship made with the reader, so use of short opening sentences to engage reader.

• Paragraphs are linked together, using connectives that relate to sequence, comparison, cause and effect.

• Concluding paragraph draws ideas together and reinforces advice, possibly through bullet points.

Sentence level

• Each paragraph has a topic sentence which is developed and supported with detail.

• Sentences are varied, with use of questions, commands and statements.

• Modal verbs are used for emphasis.

• Adverbs and adverbial phrases are used to add detail.

• Rhetorical questions are used to draw the reader in.

• Active voice and second person are used to involve the reader.

Word level

• Modal verbs are used to show possibility.

• Some repetition is used for emphasis.

• Vocabulary will be colloquial in tone.


Parents! To be a parent must be the most difficult job in theworld, and yet most of us hope that we will become aparent one day. To be effective as a parent would demandperfection and yet I think we can say that even our parentsfall short of perfection. This, however, does not dent ourlove for good old mum and dad. This leaflet, whilst not promising to be the fount of all knowledge, we thinkwill go some way to helping you – and your children –understand just what it means to be a parent. Remember –you won’t meet a problem that nobody else hasexperienced!

Lesson 13 Pupil worksheet 13.2

34

1 You are now going to adapt the formal essay which you wrote about how effectiveHarper’s parents are into an advice sheet called ‘How to be an effective parent’.

Look at the first paragraph of the formal essay shown below and then look at how thewriter has adapted this for the advice sheet.

Parents. To be a parent must be the most difficult job in the world, and yet mostpeople hope to become a parent one day. To be effective as a parent would demandperfection and yet most parents fall short of perfection. This, however, does not denta child’s love for their parents. This is reflected in the portrayal of Harper Flute’sparents in Thursday’s Child; they both obviously love their children and this love isreturned. Yet they fall far short of being effective as parents.

Minor sentencefor impact.Exclamation markmakes the toneupbeat

Personal pronounto draw reader in

Judgementaladverb seekingagreement fromreader

Colloquiallanguage toappeal to reader

Personal pronoun– direct addressto reader,followed bypause

Repetition foreffect

Superlative toseek agreement

Personalpronouns make itpersonal


Embedded clauseto add detail

Dashes addemphasis, so that‘and yourchildren’ standsout

Imperative voice– gives an orderto the reader.Active voice andsecond person toinvolve reader

Ends on areassuring note,with exclamationmark to keeptone upbeat

2 Look back at your formal essay. Working with a partner, identify the changes you wouldhave to make to adapt it into an advice sheet called ‘How to be an effective parent’. Thenwork independently to adapt your essay into an advice sheet.


Irony

1 The following extracts are from the novels The Curious Incident of the Dog in the Night-timeand Thursday’s Child. Work with a partner and explain why each extract is ironic and whateffect they have on the reader.

The first example is done for you:

Extract 1Christopher is being questioned by the police with regard to his part in the murder of a dog:

Example answerThis is humorous, because Christopher does not understand that a caution is a ‘telling off’. Hethinks it is something tangible that he should keep, rather like a certificate for an achievement.

Extract 2Christopher is being guarded by a policeman whilst travelling to London. He needs the toilet:

Extract 3After the birth of Caffy, Harper is reflecting on the change that a baby will make to the family:

Definition of irony: the use of words to express something different from and oftenopposite to their literal meaning.


35

He [the policeman] said, ‘Are you telling the truth?’I said, ‘Yes. I always tell the truth.’And he said, ‘Right. I am going to give you a caution.’I asked, ‘Is that going to be on a piece of paper like a certificate I can keep?’

Extract from The Curious Incident of the Dog in the Night-time by Mark Haddon

And then the policeman looked across at me and said, ‘Oh Christ, you’ve …’ And then he put hisnewspaper down and said, ‘For God’s sake go to the bloody toilet, will you.’And I said, ‘But I’m on a train.’And he said, ‘They do have toilets on trains, you know.’And I said, ‘Where is the toilet on the train?’And he pointed and said, ‘Through those doors, there. But I’ll be keeping an eye on you, understand?’And I said, ‘No,’ because I knew what keeping an eye on someone meant but he couldn’t look at mewhen I was in the toilet.

Extract from The Curious Incident of the Dog in the Night-time by Mark Haddon

While he was inside Mam’s stomach Caffy hadn’t taken up much more space than if it’d been Mam onher own, but now he was born he would need a cradle; or at least a box or drawer. The house only hadthe two rooms, and it was cramped already. Da would laugh and ask, What do you expect for nothing?And Mam would say, It wasn’t for nothing, Court. When I was young I never understood what she wastalking about. Because Da was right about the nothing.

Extract from Thursday’s Child by Sonya Hartnett

Teaching objectives• R18 discuss a substantial prose text, sharing perceptions, negotiating common

readings and accounting for differences of view

• Wr12 exploit the potential of presentational devices when presenting informationon paper or on screen, e.g. font size, text layout, bullet points, italics.

Focus• Chapter 13

• Form and structure of texts.

Starter activity

Explain the difference between form and structure. Ask pupils to work in pairs and label each pair either A or B.Pair A should decide on a ‘working’ definition of the form of a text and Pair B should decide on a workingdefinition of the structure of a text. Pairs A and B should then work together, share their definitions and refinethem together.

They should then apply them to a text they are currently reading in other subjects and explain the form andstructure of this text and feed back to another group (working in fours to eights).

Development

Ask pupils to explain the difference between a short story and a novel. Explain that novels tend to be much morecomplex in structure than short stories and that the structure of a novel consists of a precipitating incident,followed by rising action, then reversals, almost-climaxes, setbacks and events in any number, before the actualclimax and then the denouement. In the novel, the denouement tends to be longer than that of a short storybecause of the complexity of the plot and the need to unravel everything (French – dénouer: to untie, Latin –nodus: a knot). With all the complications it can take longer for the writer to get the characters back to ‘normal’and to show the results of the climax. This is an example of a diagrammatic structure for a typical novel:

Pupil task 1

Ask pupils to explore the derivation of the word ‘denouement’ and how it applies to plots. Model thisdiagrammatic approach to Chapter 1 as shown below:

Pupil task 2

Using sugar paper, ask each group to draw a diagram that reflects the structure of the chapters they re-read inLesson 14. These could be displayed around the classroom in chronological order as ‘work in progress’. They willalso act as good memory joggers when pupils are reflecting on the whole novel.

36


Precipitating incident

Falling action

Denouement

Rising actionReversals and almost-climaxes

Climax

Climax - Tinis buriedalive.

Precipitating incident – Harper‘s mother is inlabour, so Harper has to take Tin off to play.

Denouement – Da doesn’tbelieve that Tin could dighimself out, but Harperknows better. The tension ishigher at the end of thechapter, because the readerwants to know what willhappen to Tin and Harper.

Falling action – Tin freeshimself.

Rising action – Harper isincreasingly irritatedbecause she has toamuse Tin.

Tension is maintained as Dastruggles to free Tin.


Characters and themes

You are now going to explore the role of the male characters in Thursday’s Child, focusing onhow they act as foils to each other and to the female characters in the novel. You are alsogoing to look at how the male characters portray the themes.

While the story is told through Harper’s eyes, it focuses on the males in the family: Da, Devon,Caffy, Tin. Even though Caffy dies, he remains a presence and impetus for further action. Inthis setting the supremacy of the male is not challenged, yet often the male character hasfailings that have an impact on the others. Other male characters also have a vital role –Vandery Cable and Da’s father (Harper’s grandfather).

Complete the following tasks which focus on Tin and the male characters, Tin and Harper andTin.

1 Tin and the male characters

a) Work in threes. On sugar paper place Tin in the middle and then place the other charactersaround him. Leave space for Harper to be added later.

b) Around Tin note down the references to his character from Chapter 16. Next to each of theother characters, note key strengths and weaknesses e.g. Da’s visions for the future areunrealistic dreams, and yet his dreaming is finally justified when Tin gives them the gold.

c) How important are dreams to these characters?

d) Now draw links between the characters, with key words that describe the nature of thatrelationship. Refer to previous work done on mind-maps, if this helps.

e) This book is about Tin, yet he is mute. He never speaks; he only smiles at the end of thestory. On your mind-maps, note down the effects that Tin’s actions have on each character.In what way does he ‘free’ them?

f) The book opens with Harper describing Tin, and it closes with her thinking about her brother.She says, ‘We are all glad that Tin is safely underground, ploughing past the bones ofcavemen and dragons, a young boy only because I haven’t seen him for years.’ (page 206)

g) Re-read the opening and closing paragraphs. He appears to have missed childhood andadulthood (he has always looked like an old man) and there is a sense that he will live forever. How is this portrayed? Pick out key words and phrases and add them to your work.

2 Tin and Harper

a) Now add Harper. Re-read Chapter 15. This chapter represents a significant turning point forHarper. At one point she has almost reverted to being a baby, ‘My voice came out as gurgleand I sounded like a baby’ (page 183). What are the two ‘fears’ that she confronts when sheis trapped underground?

b) How does this change her?

c) How does Tin help her?

3 Tin

a) How might Tin and his tunnelling be symbolic?

b) Why is the book called Thursday’s Child?


37

Documents

Thursdays Child Teaching resource sheets - Pearson Schools