Imagined fears English subject leaders and Year 9 reading...

SecondaryNational Strategy

Imagined fearsYear 9 reading task

Teacher pack

Guidance

Curriculum andStandards

English subjectleaders and teachers of EnglishStatus: Recommended

Date of issue: 01-2006

Ref: DfES 1789-2005 CDO-EN

Assessing pupils’ progress in English atKey Stage 3

Imagined fears

Year 9 reading task

Framework objectivesReading 7Compare the presentation of ideas, values or emotions in related orcontrasting texts.

Reading 9Compare themes and styles of two writers from different times.

Assessment focusesAF2 Understand, describe, select or retrieve information, events or ideas

from texts and use quotation and reference to text.AF3 Deduce, infer or interpret information, events or ideas from texts.AF4 Identify and comment on the structure and organisation of texts,

including grammatical and presentational features at text level.AF5 Explain and comment on writers’ use of language, including

grammatical and literary features at word and sentence level.AF6 Identify and comment on writers’ purposes and viewpoints, and the

overall effect of the text on the reader.

Time neededTwo consecutive one-hour lessons. Timings will need to be adopted if lessonsare longer or shorter than 60 minutes.

These timings are estimates for guidance rather than obligatory timings. The most important consideration is that pupils should have sufficient time to complete the task, working independently. Unfinished tasks are unlikely to produce evidence on all the assessment focuses.

Teachers may adjust the timings for the task to take account of their particularcircumstances, but should bear in mind that spending overmuch time on anysection may disadvantage pupils.

Pack includesTeacher notesOHT 1 – opening paragraphs from Great Expectations extractOHT 2 – opening from Great Expectations extractExtract from Great ExpectationsOHT 3 – exemplar question on To Kill a MockingbirdExtract from To Kill a MockingbirdPages 2–7 of reading bookletPages of answer bookletMarking guidelines Exemplar responses

2 Secondary National Strategy | Assessing pupils’ progress in © Crown copyright 2006English at Key Stage 3 DfES 1789-2005 CDO-EN

Task outlineThis task requires pupils to read and respond to two fiction extracts: the first(from Great Expectations) is read together, while the second (from To Kill aMockingbird) is read independently. A key feature of this task is the way thewriters present a similar theme. Pupils are supported by the use of pairedwork and modelled answers to questions.

3© Crown copyright 2006 Secondary National Strategy | Assessing pupils’ progress in DfES 1789-2005 CDO-EN English at Key Stage 3

Teacher notes

Teaching sequence

LESSON 1� Share the lesson objectives with the class, rephrasing as appropriate for

the group.

Starter (10 minutes)� Display OHT 1 (page 2 of the pupil reading booklet), and use quick

question and answer to encourage active reading, e.g.:– Who might the man be?– Where might he have come from?– What impression does the writer give of him?– How do we know?– Who might the narrator be?

Introduction (20 minutes)� Briefly contextualise the passage, e.g. Pip is a young orphan who lives with

his sister and her husband, his parents having died when he was a baby.Late one afternoon, he visits the graveyard where they are buried when, allof a sudden, a fearful man appears from among the tombstones …

� Display OHT 2 (page 3 of the pupil reading booklet) and model, throughshared reading, how to annotate the text, focusing particularly on Pip’s fearand the way Magwitch terrorises him. Draw attention to the stages in Pip’sfear, e.g. fear for his life and, later, physical disorientation when he is turnedupside down. Draw out the reader’s sympathy for Pip, which is partly aresult of the first-person narration and partly a result of empathy for hispredicament.

Development (25 minutes)� Ask pupils to read the rest of the text on page 4 of the pupil reading

booklet in pairs, annotating the text for the following:– The stages of Pip’s fear (following on from those modelled)– How Magwitch terrorises Pip– How the reader responds to:

a) Pipb) Magwitch.

� Draw out key points, such as:– Pip’s fear goes through stages, e.g. initially frightened for his life, then

physically disoriented as he’s turned upside down, and finally the imaginary fears produced by Magwitch’s exaggerated threats

– The way Magwitch uses threats which are both physical and psychological, playing on the boy’s emotions and childish vulnerability

– The way the reader, while sympathising with Pip, can see the humour in some of Magwitch’s ploys and how Pip’s innocence makes him an easy victim.


Plenary (5 minutes)� Tell pupils that, in the next lesson, they will read another text in which some

children are terrified by a mysterious adult they have never seen before.Ask them, in pairs, to make three predictions about the text, focusing onhow it might be similar to or different from the one they have just read.Note ideas on a flipchart or sheet of paper and keep them for the next lesson.


LESSON 2 � Remind pupils of the learning objectives for these two lessons.

Starter (5 minutes)� Briefly recap the content of the extract from Great Expectations and remind

pupils of their predictions for the second text. � Set the context for this lesson’s text as follows:

– This text was written almost one hundred years after Great Expectations– It is set in the American Deep South– This extract also focuses on imagined fears; in this case, the rumours

that surround the mysterious Boo Radley. In this extract, the eight-year-old narrator Scout recalls an incident in which her friend Dill challengesScout’s older brother Jem to touch the front door of the Radley house

– The story takes place in Maycomb, where Jem and Scout live with theirfather. Dill is visiting from his home in Meridian.

Introduction (20 minutes)� Ask pupils to turn to page 6 of the pupil reading booklet, the extract from

To Kill a Mockingbird. Ask pupils to read the text from the beginning downto go up and knock on the front door (the bold text).

It is important that pupils read independently at this point. Do not read the textaloud to them. In order to provide a focus for their reading, ask pupils to thinkabout Dill’s interest in Boo Radley.

� Display OHT 3 or write the exemplar question on the board, then modelhow to explore the structure and organisation of ideas in a text in order tocraft an answer.

This question addresses AF4 (text structure and organisation). Pupils need toshow some general awareness of a writer’s structural choices in order toachieve level 5. This understanding may be demonstrated through anawareness of the way in which a writer uses repetition or places certain detailsin the text in order to create a particular effect.


Commentary on OHT 3

QuestionReread the first four paragraphs down to “Wonder what he looks like?”said Dill. How does the writer convey Dill’s growing interest in BooRadley?

It may be necessary to check pupils’ understanding of key words in thequestion, e.g. “convey”.

Teacher’s script for demonstrationOne thing I notice in these paragraphs is the way the word wonder isrepeated. Look – here (underline) and here (underline) and here(underline). I think the effect of this repetition is to show the reader justhow much Dill is beginning to think about Boo Radley, almost as if he’sthinking about nothing else. I think the word wonder suggests a senseof pondering over something for a long time. Now that I’ve noticed thisuse of repetition, I’m going to look to see whether anything else isrepeated and I can see in the first paragraph (underlining) that the wordmore is repeated, as are certain sentence structures, such as the morewe … the longer we.

So, I can frame my answer like this:

The writer uses repetition to show Dill’s growing interest in Boo Radley.She repeats words like “more” to indicate that Dill’s interest is everincreasing and also the word “wonder” to show her uncertainty thatBoo Radley is taking up a lot of Dill’s thoughts.

� Now ask pupils to read to the end of the passage. In order to provide afocus for their reading, ask them to think about any similarities anddifferences between this passage and the extract from Great Expectations.

It is important that pupils read independently at this point. Do not read the textaloud to them.

Development (35 minutes)� Distribute the pupil booklets and briefly point out the format of the

questions and the spaces for the answers.� Advise pupils to spend approximately the same amount of time on each

answer.� Tell them to answer all of the questions.� Advise them to move on to the next question if they get stuck and to go

back to that question later on. � Tell them that they need to refer to both extracts in order to answer

Question 6.



� Tell them that:– The first two questions are based on the first part of the text– The second two questions are based on the second part of the text– The last question is based on both texts, To Kill a Mockingbird and

Great Expectations. Pupils will need to briefly revisit this text beforeanswering this last question.

The questions have been staged in order to make it possible to support pupilswith the timing of the task. For example, ask pupils to read up to knock onthe front door. Then answer Questions 1 and 2. Then read to the end of thepassage and answer Questions 3, 4 and 5. Then remind them to revisit GreatExpectations and ask them to complete Question 6.

� Pupils should spend the rest of the session working independently on thequestions in the pupil booklet.

These are not test conditions, so prompt pupils if necessary (e.g. to write more,to explain themselves more clearly and so on). Do not, however, providesupport that means the pupils are no longer responding to the taskindependently. If this kind of support is necessary for an individual pupil in the context of the lesson, you will need to take the degree of support intoaccount when making the assessment judgement.

It is good practice to:� tell pupils if they have not written enough or are writing too much;� prompt them to explain their answer more clearly;� generally encourage them;� clarify a question or issue for the whole class if there seems to be a fairly

general misunderstanding;� remind pupils how much time they have to complete the task.

Assessment� Use the marking guidelines to judge pupils’ overall levels on the specified

assessment focuses. Highlight, then tick, the sections of the markingguidelines according to the features you find, and then consider whetherthe weight of evidence is at secure or low level 4, 5 or 6.

� Exemplar responses for each question at every level are also included forreference and to give guidance on how the criteria are to be applied.


OHT 1/Page 2 of reading booklet

“Keep still, you little devil, or I’ll cutyour throat!”

A fearful man, all in coarse grey,with a great iron on his leg. A manwith no hat, and with broken shoes,and with an old rag tied round hishead. A man who had been soakedin water, and smothered in mud,and lamed by stones, and cut byflints, and stung by nettles, and tornby briars; who limped and shivered,and glared and growled; and whoseteeth chattered in his head as heseized me by the chin.


OHT 2/Page 3 of reading booklet

Extract from Great Expectations

“Keep still, you little devil, or I’ll cut your throat!”

A fearful man, all in coarse grey, with a great iron on hisleg. A man with no hat, and with broken shoes, and withan old rag tied round his head. A man who had beensoaked in water, and smothered in mud, and lamed bystones, and cut by flints, and stung by nettles, and torn bybriars; who limped and shivered, and glared and growled;and whose teeth chattered in his head as he seized me bythe chin.

“O! Don’t cut my throat, sir,” I pleaded in terror. “Praydon’t do it, sir.”

“Tell us your name!” said the man. “Quick!”

“Pip, sir.”

“Once more,” said the man, staring at me. “Give it mouth!”

“Pip. Pip, sir.”

“Show us where you live,” said the man. “Point out theplace!”

I pointed to where our village lay, on the flat in-shoreamong the alder-trees and pollards, a mile or more fromthe church.

The man, after looking at me for a moment, turned meupside down, and emptied my pockets. There was nothing inthem but a piece of bread. When the church came to itself –for he was so sudden and strong that he made it go headover heels before me, and I saw the steeple under my feet –when the church came to itself, I say, I was seated on a hightombstone, trembling, while he ate the bread ravenously.


Page 4 of reading booklet

Extract from Great Expectations

“Keep still, you little devil, or I’ll cut your throat!”

A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, andwith broken shoes, and with an old rag tied round his head. A man who had beensoaked in water, and smothered in mud, and lamed by stones, and cut by flints, andstung by nettles, and torn by briars; who limped and shivered, and glared and growled;and whose teeth chattered in his head as he seized me by the chin.

“O! Don’t cut my throat, sir,” I pleaded in terror. “Pray don’t do it, sir.”

“Tell us your name!” said the man. “Quick!”

“Pip, sir.”

“Once more,” said the man, staring at me. “Give it mouth!”

“Pip. Pip, sir.”

“Show us where you live,” said the man. “Point out the place!”

I pointed to where our village lay, on the flat in-shore among the alder-trees andpollards, a mile or more from the church.

The man, after looking at me for a moment, turned me upside down, and emptied mypockets. There was nothing in them but a piece of bread. When the church came toitself – for he was so sudden and strong that he made it go head over heels before me,and I saw the steeple under my feet – when the church came to itself, I say, I was seatedon a high tombstone, trembling, while he ate the bread ravenously.

“You young dog,” said the man, licking his lips, “what fat cheeks you ha’ got.”

I believe they were fat, though I was at that time undersized, for my years, and notstrong.

“Darn me if I couldn’t eat ‘em,” said the man, with a threatening shake of his head,“and if I han’t half a mind to’t!”

I earnestly expressed my hope that he wouldn’t, and held tighter to the tombstone onwhich he had put me; partly, to keep myself upon it; partly, to keep myself from crying.

“Now lookee here!” said the man. “Where’s your mother?“

“There, sir!“ said I.

He started, made a short run, and stopped and looked over his shoulder.

“There, sir!“ I timidly explained. “Also Georgiana. That’s my mother.”

“Oh!” said he, coming back. “And is that your father alonger your mother?”

“Yes, sir,” said I; “him too; late of this parish.”

“Ha!” he muttered then, considering. “Who d’ye live with – supposin’ you’re kindly letto live, which I han’t made up my mind about?”

“My sister, sir – Mrs. Joe Gargery – wife of Joe Gargery, the blacksmith, sir.”

“Blacksmith, eh?” said he. And looked down at his leg.


After darkly looking at his leg and at me several times, he came closer to my tombstone,took me by both arms, and tilted me back as far as he could hold me; so that his eyeslooked most powerfully down into mine, and mine looked most helplessly up into his.

“Now lookee here,” he said, “the question being whether you’re to be let to live. Youknow what a file is?”

“Yes, sir.”

“And you know what wittles is?”

“Yes sir.”

After each question he tilted me over a little more, so as to give me a greater sense ofhelplessness and danger.

“You get me a file.” He tilted me again. “And you get me wittles.” He tilted me again.“You bring ‘em both, to me.” He tilted me again. “Or I’ll have your heart and liver out.”He tilted me again.

I was dreadfully frightened, and so giddy that I clung to him with both hands, and said,“If you would kindly please to let me keep upright, sir, perhaps I shouldn’t be sick, andperhaps I could attend more.”

He gave me a most tremendous dip and roll, so that the church jumped over its ownweather-cock. Then, he held me by the arms in an upright position on the top of thestone, and went on in these fearful terms:

“You bring me, to-morrow morning early, that file and them wittles. You bring the lotto me, at that old Battery over yonder. You do it, and you never dare to say a word ordare to make a sign concerning your having seen such a person as me, or any personsumever, and you shall be let to live. You fail, or you go from my words in any partickler,no matter how small it is, and your heart and your liver shall be tore out, roasted andate. Now, I ain’t alone, as you may think I am. There’s a young man hid with me, incomparison with which young man I am a Angel. That young man hears the words Ispeak. That young man has a secret way pecooliar to himself, of getting at a boy, and athis heart, and at his liver. It is in wain for a boy to attempt to hide himself from thatyoung man. A boy may lock his door, may be warm in bed, may tuck himself up, maydraw the clothes over his head, may think himself comfortable and safe, but that youngman will softly creep and creep his way to him and tear him open. I am a keeping thatyoung man from harming of you at the present moment, with great difficulty. I find itwery hard to hold that young man off of your inside. Now, what do you say?”

I said that I would get him the file, and I would get him what broken bits of food Icould, and I would come to him at the Battery, early in the morning.

“Say, Lord strike you dead if you don’t!” said the man.

I said so, and he took me down.

“Now,” he pursued, “you remember what you’ve undertook, and you remember thatyoung man, and you get home!”

“Goo-good night, sir,” I faltered.

“Much of that!” said he, glancing about him over the cold wet flat. “I wish I was a frog.Or a eel!”



Question:

Reread the first four paragraphsdown to “Wonder what he lookslike?” said Dill.

How does the writer convey Dill’sgrowing interest in Boo Radley?

OHT 3



Extract from To Kill a Mockingbird

The more we told Dill about the Radleys, the more he wanted to know, the longerhe would stand hugging the light-pole on the corner, the more he would wonder.

“Wonder what he does in there,” he would murmur. “Looks like he‘d just stick hishead out the door.”

Jem said, “He goes out, all right, when it‘s pitch dark. Miss Stephanie Crawford saidshe woke up in the middle of night one time and saw him looking straight throughthe window at her … said his head was like a skull lookin‘ at her. Ain‘t you everwaked up at night and heard him, Dill? He walks like this –”. Jem slid his feetthrough the gravel. “Why do you think Miss Rachel locks up so tight at night? I‘veseen his tracks in our back yard many a mornin’, and one night I heard himscratching on the back screen, but he was gone time Atticus got there.”

“Wonder what he looks like?” said Dill.

Jem gave a reasonable description of Boo: Boo was about six-and-a-half feet tall,judging from his tracks; he dined on squirrels and any cats he could catch, that‘s whyhis hands were blood-stained – if you ate an animal raw, you could never wash theblood off. There was a long jagged scar that ran across his face; what teeth he hadwere yellow and rotten; his eyes popped, and he drooled most of the time.

“Let‘s try to make him come out,” said Dill. “I‘d like to see what he looks like.”

Jem said if Dill wanted to get himself killed, all he had to do was go up and knockon the front door.

Our first raid came to pass only because Dill bet Jem The Grey Ghost against twoTom Swifts that Jem wouldn‘t get any farther than the Radley gate. In all his life,Jem had never declined a dare.

Jem thought about it for three days. I suppose he loved honor more than his head, forDill wore him down easily: “You‘re scared,” Dill said, the first day. “Ain‘t scared, justrespectful,” Jem said. The next day Dill said, “You‘re too scared even to put your bigtoe in the front yard.” Jem said he reckoned he wasn‘t, he‘d passed the Radley placeevery school day in his life.

“Always runnin‘,” I said.

But Dill got him the third day, when he told Jem that folks in Meridian certainlyweren‘t as afraid as the folks in Maycomb, that he‘d never seen such scary folks asthe ones in Maycomb.

This was enough to make Jem march to the corner, where he stopped and leanedagainst the light-pole, watching the gate hanging crazily on its home-made hinge.

“I hope you‘ve got it through your head that he‘ll kill us each and every one, DillHarris,” said Jem, when we joined him. “Don‘t blame me when he gouges your eyesout. You started it, remember.” “You‘re still scared,” murmured Dill patiently.

Jem wanted Dill to know once and for all that he wasn‘t scared of anything: “It‘s justthat I can‘t think of a way to make him come out without him gettin‘ us.” Besides,Jem had his little sister to think of.


When he said that, I knew he was afraid. Jem had his little sister to think of the timeI dared him to jump off the top of the house: “If I got killed, what‘d become ofyou?” he asked. Then he jumped, landed unhurt, and his sense of responsibility lefthim until confronted by the Radley place.

“You gonna run out on a dare?” asked Dill. “If you are, then ~”

“Dill, you have to think about these things,” Jem said. “Lemme think a minute…it‘ssort of like making a turtle come out…”

“How‘s that?” asked Dill.

“Strike a match under him.”

I told Jem if he set fire to the Radley house I was going to tell Atticus on him.

Dill said striking a match under a turtle was hateful.

“Ain‘t hateful, just persuades him -‘s not like you‘d chuck him in the fire,” Jem growled.

“How do you know a match don‘t hurt him?”

“Turtles can‘t feel, stupid,” said Jem.

“Were you ever a turtle, huh?”

“My stars, Dill! Now lemme think…reckon we can rock him...”

Jem stood in thought so long that Dill made a mild concession: “I won‘t say you ranout on a dare an‘ I‘ll swap you The Grey Ghost if you just go up and touch thehouse.”

Jem brightened. “Touch the house, that all?” Dill nodded.

“Sure that‘s all, now? I don‘t want you hollerin‘ something different the minute I getback.”

“Yeah, that‘s all,” said Dill. “He‘ll probably come out after you when he sees you inthe yard, then Scout‘n‘me”ll jump on him and hold him down till we can tell him weain‘t gonna hurt him.”

We left the corner, crossed the side street that ran in front of the Radley house, andstopped at the gate.

“Well go on,” said Dill, Scout and me‘s right behind you.”

“I‘m going,” said Jem, “don‘t hurry me.”

He walked to the corner of the lot, then back again, studying the terrain as ifdeciding how best to effect an entry, frowning and scratching his head.

Then I sneered at him.

Jem threw open the gate and sped to the side of the house, slapped it with his palmand ran back past us, not waiting to see if his foray was successful. Dill and I followedon his heels. Safely on our porch, panting and out of breath, we looked back.

The old house was the same, droopy and sick, but as we stared down the street wethought we saw an inside shutter move. Flick. A tiny, almost invisible movement, andthe house was still.Copyright©1960 by Harper Lee.Reprinted with the permission of McIntosh and Otis, Inc.



These questions are based on the first part of the text, up to go up andknock on the front door.

1. How do we know that Jem’s description of Boo Radley in paragraph 5 is unlikelyto be true (AF3)?

2. Reread the third paragraph.

How does the writer use language to create a terrifying picture of Boo Radley inthis paragraph?

One example has been completed for you. Give two more (AF5).

I know Jem’s description of Boo Radley is unlikely to be true because…

� The writer uses sounds like scratching and Jem slid his feet through the gravel toshow that people never see Boo Radley – they only hear him. The sounds arequite creepy and you can almost hear them as if Boo was actually there!

�

�


These questions are based on the second part of the extract from Ourfirst raid to the end of the passage.

3. How does Dill succeed in making Jem agree to touch the Radley’s front door?

Refer to the text in your answer or use a quotation to support what you say (AF2).

4. Scout is Jem’s younger sister and she is also the narrator.

Reread the two paragraphs from Jem wanted Dill to know up to confronted bythe Radley place.

Scout understands her brother very well. Explain how we know this (AF3).


5. Re-read the final paragraph which is the end of this chapter.

How successful is it as a chapter ending (AF4)?

You should comment on:� The way this paragraph contrasts with the one before� The way the house is described� How it provides a satisfying ending to the chapter


This question is based on both texts, Great Expectations and To Kill aMockingbird.

6. Both texts are about children who are frightened of adults.

Pick out one similarity and one difference in the way the writer describes thechildren’s fears. Then say which text presents the children’s fears most successfullyand why you think this (AF6).

Similarity

I think the _______________________________ text presents the children’s fears most

successfully because:

Difference


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en

ce

th

at

Je

m h

as e

ve

r e

ve

n

se

en

Bo

o R

ad

ley.

In Q

4,

co

mm

en

ts a

re s

ecu

rely

ba

se

d in

te

xtu

al e

vid

en

ce

an

d id

en

tify

diffe

ren

t la

ye

rs o

f m

ea

nin

g w

ith

so

me

att

em

pt

at

de

taile

d e

xp

lora

tio

n o

f th

em

, e

.g.

Sco

ut

rea

lise

s t

ha

t Je

m is u

sin

g h

er

as a

n

excu

se

be

ca

use

he

is a

fra

id.

Ho

we

ve

r,

sh

e k

no

ws t

ha

t h

e o

nly

do

es t

his

wh

en

it s

uits h

im,

as s

he

re

me

mb

ers

an

oth

er

tim

e w

he

n s

he

da

red

him

to

ju

mp

off

th

e

ho

use

. A

s s

oo

n a

s h

e w

as s

afe

, h

e

wa

sn

’t s

o b

oth

ere

d a

bo

ut

he

r.

In Q

5,

so

me

de

taile

d e

xp

lora

tio

n o

f th

e

wa

y t

he

wri

ter’

s s

tru

ctu

ral ch

oic

es

co

ntr

ibu

te t

o t

he

ove

rall

eff

ect,

e.g

. th

e

stilln

ess in

th

e f

ina

l se

nte

nce

co

ntr

asts

w

ith

all

the

mo

ve

me

nt

in t

he

pa

rag

rap

h

be

fore

. H

ow

eve

r, t

he

re’s

ju

st

a h

int

at

the

en

d t

ha

t th

ere

may h

ave

be

en

so

me

on

e in

sid

e –

Bo

o R

ad

ley?

–

wa

tch

ing

th

em

all

the

tim

e…

In Q

2,

two

ap

pro

pria

te e

xa

mp

les a

re

ch

ose

n.

So

me

de

taile

d e

xp

lan

atio

n,

with

ap

pro

pri

ate

te

ch

nic

al te

rms,

sh

ow

h

ow

th

e w

rite

r’s c

ho

ice

s c

on

trib

ute

to

th

e o

ve

rall

eff

ect

on

th

e r

ea

de

r, e

.g. th

eim

ag

e o

f B

oo

lo

okin

g s

tra

igh

t th

rou

gh

M

iss C

raw

ford

’s w

ind

ow

is lik

e

so

me

thin

g f

rom

a h

orr

or

film

. It

’s a

s

tho

ug

h h

e’s

te

rro

risin

g a

ll th

e

de

fen

ce

less w

om

en

in

th

e

ne

igh

bo

urh

oo

d.

In Q

6,

an

sw

ers

cle

arl

y id

en

tify

an

a

pp

rop

ria

te s

imila

rity

an

d d

iffe

ren

ce

th

rou

gh

clo

se

re

fere

nce

to

th

e t

ext,

e.g

. b

oth

wri

ters

pre

se

nt

ch

ildre

n w

ho

are

te

rrifie

d o

f u

nkn

ow

n o

r u

ne

xp

ecte

d

ad

ults,

bu

t in

TK

AM

th

e w

rite

r sh

ow

s u

s

tha

t th

e c

hild

ren

’s f

ea

rs a

re im

ag

ine

d

an

d t

ha

t B

oo

is u

nlik

ely

to

be

d

an

ge

rou

s,

wh

ere

as P

ip a

ctu

ally

fe

ars

fo

r h

is life

.

Th

e e

ffe

ct

on

th

e r

ea

de

r is

cle

arl

y

ide

ntifie

d w

ith

so

me

exp

licit e

xp

lan

atio

n,

e.g

.b

eca

use

the

wri

ter

ha

s c

leve

rly

sh

ow

n h

ow

th

e c

hild

ren

ha

ve

wh

ipp

ed

u

p t

he

fe

ar

for

the

mse

lve

s a

nd

are

p

rob

ab

ly n

eve

r re

ally

in

an

y d

an

ge

r. I

t’s

as if

Sco

ut

an

d t

he

re

ad

er

ca

n s

ee

ho

w

sill

y t

he

y’re

be

ing

.

L5

In Q

3,

co

mm

en

ts c

lea

rly id

en

tify

mo

st

rele

va

nt

po

ints

an

d a

re s

up

po

rte

d b

y

rele

va

nt

textu

al re

fere

nce

or

qu

ota

tio

n,

e.g

.D

ill d

are

s J

em

an

d k

ee

ps t

au

ntin

g

him

da

y a

fte

r d

ay,

“Dill

wo

re h

im d

ow

n

ea

sily

”.

In Q

1,

co

mm

en

ts d

eve

lop

an

e

xp

lan

atio

n o

f in

ferr

ed

me

an

ing

dra

win

g

on

evid

en

ce

fro

m t

he

te

xt,

e.g

. Je

m is

tryin

g t

o m

ake

Bo

o s

ou

nd

re

ally

sca

ry

an

de

ve

n D

ill d

oe

sn

’t q

uite

se

em

to

b

elie

ve

his

de

scri

ptio

n.

In Q

4,

co

mm

en

ts d

eve

lop

an

e

xp

lan

atio

n o

f in

ferr

ed

me

an

ing

dra

win

g

on

evid

en

ce

fro

m t

he

te

xt,

e.g

. sh

ere

alis

es t

ha

t h

e is s

ca

red

be

ca

use

he

sa

ys h

e h

as t

o t

hin

k a

bo

ut

his

little

sis

ter.

Sh

e k

no

ws t

his

is h

is w

ay o

f sa

yin

g h

e d

oe

sn

’t w

an

t to

do

it.

In Q

5,

co

mm

en

ts s

ho

w s

om

e g

en

era

l a

wa

ren

ess o

f th

e w

rite

r’s s

tru

ctu

ral

ch

oic

es w

ith

so

me

exp

lan

atio

n,

e.g

. in

the

la

st

pa

rag

rap

h it’s a

s t

ho

ug

h J

em

h

ad

im

ag

ine

d t

he

da

ng

er

all

alo

ng

. T

he

re’s

a r

ea

l a

nti-c

lima

x a

t th

e e

nd

b

eca

use

he

to

uch

es t

he

ho

use

an

d

no

thin

g h

ap

pe

ns!

In Q

2,

two

ap

pro

pria

te e

xa

mp

les a

re

ch

ose

n.

Co

mm

en

ts s

ho

w s

om

e

aw

are

ne

ss o

f th

e e

ffe

ct

of

the

write

r’s

ch

oic

es,

e.g

. b

y s

ug

ge

stin

g t

ha

t B

oo

o

nly

eve

r co

me

s o

ut

at

nig

ht,

wh

en

it’s

pitch

da

rk,

it m

ake

s h

im s

ee

m m

ore

m

yste

rio

us a

nd

fri

gh

ten

ing

. T

he

lin

k t

o

da

rkn

ess s

ug

ge

sts

th

at

he

ma

y b

e e

vil.

In Q

6,

an

sw

ers

cle

arl

y id

en

tify

an

a

pp

rop

ria

te s

imila

rity

an

d d

iffe

ren

ce

w

ith

so

me

lim

ite

d e

xp

lan

atio

n,

e.g

. b

oth

lots

of

ch

ildre

n a

re f

rig

hte

ne

d o

f a

du

lts

bu

t fo

r d

iffe

ren

t re

aso

ns.

Je

m a

nd

Pip

a

re b

oth

frig

hte

ne

d b

ut

Je

m f

rig

hte

ns

him

se

lf,

wh

ere

as P

ip is a

ctu

ally

a

tta

cke

d b

y t

he

ma

n in

th

e g

rave

ya

rd.

Th

ere

is g

en

era

l a

wa

ren

ess o

f th

e e

ffe

ct

on

th

e r

ea

de

r w

ith s

om

e lim

ite

d

exp

lan

atio

n,

e.g

. b

eca

use

th

e w

rite

r m

ake

s u

s f

ee

l so

rry f

or

Pip

. H

is f

ea

rs

are

re

al a

nd

th

e c

on

vic

t is

a r

ea

l th

rea

t to

him

.

IE

Ove

rall

assessm

en

t (t

ick o

ne

bo

x o

nly

) S

ecu

re 6

L

ow

6

Se

cu

re 5

L

ow

5

Secondary

Nat

iona

l Str

ateg

yfo

r sc

hool

imp

rove

men

t


Mark

ing

gu

idelin

es –

Year

9 t

ask –

Im

ag

ined

fears

Asse

ssin

g p

up

ils’ p

rog

ress in

En

glis

h a

t K

ey S

tag

e 3

Pupil

nam

e............................................................................................

Form

.................................

Date

...............................

AF

2 –

un

ders

tan

d,

descri

be,

sele

ct

or

retr

ieve in

form

ati

on

, even

ts o

r id

eas f

rom

te

xts

an

d u

se q

uo

tati

on

an

d r

efe

ren

ce t

o

tex

t.

AF

3 –

de

du

ce

, in

fer

or

inte

rpre

t in

form

ati

on

, e

ve

nts

or

ide

as f

rom

tex

ts.

AF

4 –

id

en

tify

an

d c

om

men

t o

n t

he

str

uctu

re a

nd

org

an

isati

on

of

texts

, in

clu

din

g g

ram

mati

cal

an

d p

resen

tati

on

al

fea

ture

s a

t te

xt

level.

AF

5 –

exp

lain

an

d c

om

men

t o

n w

rite

rs’

use o

f la

ng

uag

e,

inclu

din

g g

ram

mati

cal

an

d lit

era

ry f

eatu

res a

t w

ord

an

d s

en

ten

ce

leve

l.

AF

6 –

id

en

tify

an

d c

om

me

nt

on

wri

ters

’ p

urp

oses a

nd

vie

wp

oin

ts,

an

d t

he o

vera

ll

eff

ect

of

the t

ext

on

th

e r

ead

er.

L5

In Q

3,

co

mm

en

ts c

lea

rly id

en

tify

mo

st

rele

va

nt

po

ints

an

d a

re s

up

po

rte

d b

y

rele

va

nt

textu

al re

fere

nce

or

qu

ota

tio

n,

e.g

.D

ill d

are

s J

em

an

d k

ee

ps t

au

ntin

g

him

da

y a

fte

r d

ay,

“Dill

wo

re h

im d

ow

n

ea

sily

”.

In Q

1,

co

mm

en

ts d

eve

lop

an

e

xp

lan

atio

n o

f in

ferr

ed

me

an

ing

dra

win

g

on

evid

en

ce

fro

m t

he

te

xt,

e.g

. Je

m is

tryin

g t

o m

ake

Bo

o s

ou

nd

re

ally

sca

ry

an

de

ve

n D

ill d

oe

sn

’t q

uite

se

em

to

b

elie

ve

his

de

scri

ptio

n.

In Q

4,

co

mm

en

ts d

eve

lop

an

e

xp

lan

atio

n o

f in

ferr

ed

me

an

ing

dra

win

g

on

evid

en

ce

fro

m t

he

te

xt,

e.g

. sh

ere

alis

es t

ha

t h

e is s

ca

red

be

ca

use

he

sa

ys h

e h

as t

o t

hin

k a

bo

ut

his

little

sis

ter.

Sh

e k

no

ws t

his

is h

is w

ay o

f sa

yin

g h

e d

oe

sn

’t w

an

t to

do

it.

In Q

5,

co

mm

en

ts s

ho

w s

om

e g

en

era

l a

wa

ren

ess o

f th

e w

rite

r’s s

tru

ctu

ral

ch

oic

es w

ith

so

me

exp

lan

atio

n,

e.g

. in

the

la

st

pa

rag

rap

h it’s a

s t

ho

ug

h J

em

h

ad

im

ag

ine

d t

he

da

ng

er

all

alo

ng

. T

he

re’s

a r

ea

l a

nti-c

lima

x a

t th

e e

nd

b

eca

use

he

to

uch

es t

he

ho

use

an

d

no

thin

g h

ap

pe

ns!

In Q

2,

two

ap

pro

pria

te e

xa

mp

les a

re

ch

ose

n.

Co

mm

en

ts s

ho

w s

om

e

aw

are

ne

ss o

f th

e e

ffe

ct

of

the

write

r’s

ch

oic

es,

e.g

. b

y s

ug

ge

stin

g t

ha

t B

oo

o

nly

eve

r co

me

s o

ut

at

nig

ht,

wh

en

it’s

pitch

da

rk,

it m

ake

s h

im s

ee

m m

ore

m

yste

rio

us a

nd

fri

gh

ten

ing

. T

he

lin

k t

o

da

rkn

ess s

ug

ge

sts

th

at

he

ma

y b

e e

vil.

In Q

6,

an

sw

ers

cle

arl

y id

en

tify

an

a

pp

rop

ria

te s

imila

rity

an

d d

iffe

ren

ce

w

ith

so

me

lim

ite

d e

xp

lan

atio

n,

e.g

. b

oth

lots

of

ch

ildre

n a

re f

rig

hte

ne

d o

f a

du

lts

bu

t fo

r d

iffe

ren

t re

aso

ns.

Je

m a

nd

Pip

a

re b

oth

frig

hte

ne

d b

ut

Je

m f

rig

hte

ns

him

se

lf,

wh

ere

as P

ip is a

ctu

ally

a

tta

cke

d b

y t

he

ma

n in

th

e g

rave

ya

rd.

Th

ere

is g

en

era

l a

wa

ren

ess o

f th

e e

ffe

ct

on

th

e r

ea

de

r w

ith s

om

e lim

ite

d

exp

lan

atio

n,

e.g

. b

eca

use

th

e w

rite

r m

ake

s u

s f

ee

l so

rry f

or

Pip

. H

is f

ea

rs

are

re

al a

nd

th

e c

on

vic

t is

a r

ea

l th

rea

t to

him

.

L4

In Q

3,

co

mm

en

ts id

en

tify

so

me

re

leva

nt

po

ints

an

d a

re s

up

po

rte

d b

y g

en

era

lly

rele

va

nt

textu

al re

fere

nce

or

qu

ota

tio

n

wh

ich

ma

y b

e u

nse

lective

, e

.g.

he

da

res

him

to

wh

en

he

sa

ys “

Le

t’s t

ry t

o m

ake

h

im c

om

e o

ut”

.

In Q

1,

co

mm

en

ts m

ake

in

fere

nce

s

ba

se

d o

n,

bu

t n

ot

alw

ays s

ecu

rely

ro

ote

d in

, th

e t

ext,

e.g

. it’s

to

o f

ar-

fetc

he

d t

o b

e t

rue

– n

o o

ne

co

uld

lo

ok

like

th

at.

In Q

4,

co

mm

en

ts m

ake

in

fere

nce

s

ba

se

d o

n,

bu

t n

ot

alw

ays s

ecu

rely

ro

ote

d in

, th

e t

ext,

e.g

. sh

e k

no

ws t

ha

t h

e is a

fra

id b

eca

use

he

is w

orr

ied

ab

ou

t w

ha

t w

ou

ld h

ap

pe

n t

o h

er.

In Q

5,

so

me

str

aig

htf

orw

ard

co

mm

en

ts

ab

ou

t th

e w

rite

r’s s

tru

ctu

ral ch

oic

es,

e.g

. th

e p

ara

gra

ph

pro

vid

es a

sa

tisfy

ing

e

nd

ing

be

ca

use

it

en

ds w

ith

Je

m

tou

ch

ing

th

e h

ou

se

bu

t h

e d

oe

sn

’t g

et

ca

ug

ht

by B

oo

Ra

dle

y.

In Q

2,

on

e o

r tw

o e

xa

mp

les a

re c

ho

se

n

an

d s

tra

igh

tfo

rwa

rd c

om

me

nts

are

m

ad

e,

e.g

. lik

e a

sku

llis

a g

oo

d im

ag

e

to u

se

be

ca

use

it

ma

ke

s h

im s

ee

m

mo

re f

rig

hte

nin

g.

In Q

6,

an

sw

ers

id

en

tify

an

a

pp

rop

ria

te

sim

ilari

ty a

nd

diffe

ren

ce

with

so

me

str

aig

htf

orw

ard

co

mm

en

t, e

.g.

Pip

is

frig

hte

ne

d b

eca

use

th

e m

an

th

rea

ten

s

him

bu

t Je

m isn

’t a

ctu

ally

th

rea

ten

ed

by

Bo

o.

Th

ere

is s

om

e s

tra

igh

tfo

rwa

rd c

om

me

nt

on

th

e e

ffe

ct

on

th

e r

ea

de

r, e

.g.

be

ca

use

I f

elt m

ore

so

rry f

or

Pip

b

eca

use

he

wa

s a

little

bo

y a

ll a

lon

e

an

d h

e w

as s

ca

red

.

B4

IE

Ove

rall

assessm

en

t (t

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1. How do we know that Jem’s description of Boo Radley in paragraph 5 is unlikely to betrue (AF3)?

Level 4: Response and commentary

The comment that the description of Boo is “imaginery” is related to the statement “Hiseyes popped and if you eat an animal raw you could never wash the blood off”. Thisimplies recognition of the extreme improbability of the information, although the point is not explained in a way that is securely rooted in the text.


To develop an explanation, this response focuses on Dill’s reaction to Jem’s description ofBoo, inferring from this that, as Dill requires further evidence – “wants to make Boo comeout” – he finds what Jem says unconvincing.

Exemplar responses



The point is clearly made that aspects of Jem’s description are related to “myths” and “asif from a story”, with various features well chosen to support and explore why a highdegree of improbability and exaggeration is present.


2. Reread the third paragraph.

How does the writer use language to create a terrifying picture of Boo Radley in thisparagraph?

One example has been completed for you. Give two more (AF5).


Two examples of language use are given – “looks like a skull” and “when its pitch dark” –and each is supported by a straightforward, generalised comment – “makes it seem scary”and “you can hear him but you can’t see him” – which are similar points to those given inthe example.



Two examples of language use are given – “Boo leaves tracks behind him” and “head waslike a skull” – and each shows some awareness of the effect of the writer’s choices. Theword “creepy” is repeated to describe the effect, which, without amplification, wouldhave constituted nothing more than a “simple comment”. However, for the first exampleit is developed and strengthened by “as if to say you can never see him but you know he’sbeen there”, and for the second, the comment is also extended “got a skull instead of aface”. These attempts to define and describe more precisely the impact of the chosenphrases show some awareness of their intended effect.



Two examples of language use are given – “Miss Rachel locks up so tight at night” and“his head was like a skull” – and each is supported by some detailed explanation of theeffect of the writer’s choices. In each case, the effect of the chosen words is explained anddescribed quite precisely, using technical language where appropriate – “isnt just thechildren who seem afraid” and “produces an image of death” which is “scary”. There isalso further awareness of how language is being deployed for deliberate effect in therecognition that the description of Boo is as seen through the eyes of Jem – “may just beJem twisting the truth”.


3. How does Dill succeed in making Jem agree to touch the Radley’s front door?

Refer to the text in your answer or use a quotation to support what you say (AF2).


One point is clearly made – “Dill bet Jem” – supported by a relevant explanatoryquotation – “Jem had never declined a dare”. A second point – “Dill make Jem fell scaredof the house” is correctly identified, but is not made relevant by some comment to theeffect that Jem does not like to be thought fearful or cowardly.


An appropriate strategy is identified – “he keeps saying ‘your scared’” – and its effectexplained – “so she will try to prove him wrong”. There is reference to the way this pointis repeated, with further explanation of the effect this has of making her “even moredetermined”.



The strategy of “taunting” Jem is clearly identified and explained with a supportingquotation – “constantly chanting ‘you’re scared’”. The effectiveness of the ploy – becauseit “makes him more keen to prove her wrong” – is clarified and given emphasis by theadditional quotation – “then I sneered at him”.

4. Scout is Jem’s younger sister and she is also the narrator.

Reread the two paragraphs from Jem wanted Dill to know up to confronted by theRadley place.

Scout understands her brother very well. Explain how we know this (AF3).


Clear identification of Scout’s inference that her brother “was afraid” with the supportingquotation that “he has his sister to think of” to provide the evidence.



The comments develop an explanation, including appropriate quotations, of how excusesabout “his little sister to think of” have been used by Jem before and how Scout haslearned to interpret this – “I knew he was afraid”.


Although slightly convoluted in its reasoning, this response is securely based in evidencefrom the text and explores how inferences may be drawn from Jem’s previous use of thestrategy of having “his little sister to think of”. There is recognition that it is Jem’s way“to get out of things” without revealing the fear that he feels.


5. Reread the final paragraph which is the end of this chapter.

How successful is it as a chapter ending (AF4)?

You should comment on:� The way this paragraph contrasts with the one before� The way the house is described� How it provides a satisfying ending to the chapter


The references to sentence structure are largely inaccurate and irrelevant. However, thereis some recognition that the description of the house – “droppy and sick” – echoesprevious descriptions of Boo; and the “almost invisible moment” implies that “theirmission to see Boo” is incomplete. These two comments imply that the ending isappropriate because it refers back to what has gone before, but leaves open possibilitiesfor the future.



Two points are made about the effect of the ending, showing awareness of the writer’sstructural choices, with some development of the comment in each case. Firstly, a contrastis made between the tense action of the previous paragraphs and how, in the finalparagraph, “it comes to a stand still”. And secondly, the sense of anti-climax after excitedactivity is emphasised through the description of the house that “suggests it was just thesame as before”, although there is the slightly intriguing “inside shutter flick”.



This answer explores in some detail how the final paragraph contributes to the overallimpact of the text. There is reference to the fact that the excited action of the penultimateparagraph has been built up to throughout the text and that the final paragraph with“Flick” and the “almost invisable movement” brings things to a “calm” conclusion. Thepoint is further developed through comment on the description of the house – “same asbefore” – suggesting that “making Jem complete the dare had made no diffirence”.


6. Both texts are about children who are frightened of adults.

Pick out one similarity and one difference in the way the writer describes the children’sfears. Then say which text presents the children’s fears most successfully and why youthink this (AF6).


A straightforward similarity and difference are identified – “They both focus on one mainperson who scares the children” and “one is also on about something happening to thechild where the other is just scared of what he (the adult) would do if he saw them”. Comment on the effect on the reader is limited to the most obvious points about Pip’sfear – the way Pip shows his fear/respect by constantly “saying ‘Sir’” to someone who isrepeatedly called “the man” or “A man” and the way the word “trembling” emphasiseshis fright.



A straightforward similarity is identified – “Pip and Jem are both scared of getting hurt” –with supporting quotation from To Kill A Mockingbird. The difference noted is a slightlymore subtle point that “Pips fears are real” but “Jem’s fears might be all fake”, as thereader does not know at this stage whether Jem’s fears will be realised.

Comment on the effect on the reader offers some explanation of why Pip’s situation ismore frightening. Statements like “all the way through Pip is scared”, his fears are“actually real”, and “he is confronted with this ‘fearful man’” emphasise that the readeris well aware of the reality of Pip’s fear, compared with Jem’s situation, because he has“not actually seen him (Boo) personally”.



A straightforward similarity is identified – “Pip...and all characters...are all scared ofgetting hurt” – with a supporting quotation from each text. The difference identifiedshows understanding of the impact of the text on the reader by referring to the fact thatthere is no room for doubt that Pip is “terrified of Magwitch”, whereas the othercharacters “try to deny their fear”.

Comment on the effect on the reader explores very fully the way Dill, Jem and Scout playon each other’s fears without there being firm evidence that these have any basis inreality. Explanations are supported well by relevant references to the text and the point isemphasised by again repeating the contrast with Pip’s situation, which “is not just amystery”.

These materials have been developed by QCA in partnership with the Secondary National Strategy.

The help provided by the teachers and pupils who have trialled the materials as part of the Monitoring Pupils’ Progress in English project has been invaluable.

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Imagined fears English subject leaders and Year 9 reading...

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