Group reading at Key Stage 3Material to support group and guided reading in Years 7, 8 and 9
Classroom materials for three short units of work in Years 7, 8 and 9 aimed at fostering and developing independent reading at Key Stage 3. Produced jointly by the English strand of the Key Stage 3 National Strategy and the National Association for the Teaching of English (NATE), the material is only available on their websites.
Detailed support material for five fiction and drama texts in each of Years 7, 8 and 9 is provided. These consist of 11 group reading sessions per text, which include two guided reading sessions and two sessions focused on group presentations. All the lessons use active reading strategies and discussion to address specific objectives in the Framework for teaching English: Years 7, 8 and 9.
Information leaflet: Group reading at Key Stage 3. Distributed in hard copy to all schools in January 2003. This leaflet explains the rationale for the material and how it is designed to be used in classrooms.
Lesson plans and work cards for group reading of the following five texts in each year group (Note: All references to the texts are based on the editions listed below.)
Year 7 Black Harvest (play based on the novel by Ann Pilling)
Nigel Gray Collins Educational
Goodnight Mr Tom Michelle Magorian LongmanTwo Weeks with the Queen Morris Gleizman Puffin/Collins EducationalLittle Soldier Bernard Ashley Orchard BooksWhispers in the Graveyard Theresa Breslin Heinemann Education
Year 8 Bretevski Street (play) Lin Coghlan NATE Publications Holes Louis Sachar Bloomsbury The Ruby in the Smoke Philip Pullman Scholastic PointChinese Cinderella Adeline Yen Mah PuffinThe Wind Singer William Nicholson Mammoth
Year 9 Witch Child Celia Rees BloomsburyThe Tulip Touch Anne Fine PuffinStone Cold Robert Swindells New WindmillsCoram Boy Jamila Gavin MammothTightrope Gillian Cross Puffin
Teaching material to downloadNote: To help teachers make adjustments to the units in order to suit their pupils:
times have been allocated to the reading and the group tasks; the material is in both Word and PDF format (Word files can be edited).
Pupil resources Pupil group reading cards to support 11 sessions on each book. Strategy check-card for fiction/drama, designed to help pupils reflect on the reading strategies they
use. Prompts for responding to fiction/drama. Questions and reminders that can apply to any text.
Teacher resources Starter/introductions: a bank of 15-minute sessions each focused on a different reading strategy
and objective.
Guided reading cards – two detailed guided reading sessions per text.
Suggestions for group presentations on books to support the last two lessons of each unit.
Book tasters: trailers to engage pupils in their group reading books.
Guidance material on web Managing group reading
Advice on how to set up, organise and support group reading. Includes suggestions on sustaining independent work while running guided reading sessions and ten top tips on making group reading a success.
Targeted supportRefers to existing Key Stage 3 National Strategy materials on supporting pupils learning English as an additional language, gifted and talented pupils, and pupils whose reading is below national expectations for their age.
Reading targetsA suggested process for arriving at reading targets for groups and individual pupils linked to the QCA assessment focuses for reading and the Key Stage 3 Framework objectives. Examples are given for Year 7.
Guided readingReminders on the teaching sequence and rationale for guided reading.
Suggestions for plenaries Reading journal
Suggestions for a reading journal format and types of entries.
Writing book reviewsA teaching sequence to support review writing.
Pupil self-evaluationSuggestions for encouraging pupils to reflect on what they have learned and what to target next in their reading.
Making the most of the school librarySuggestions for drawing on the knowledge and expertise of the school librarian and ensuring pupils see the school library as a regular source and resource.
Useful websitesA list of websites devoted to encouraging reading for secondary age pupils.
If you liked… then you’ll want to try…Teachers and librarians are invited to submit titles of books for this (NATE website only).
Blank group reading planning templates to use with additional textsTeachers are invited to submit these for publication on the NATE website.
Strategy check-card promptsThe following can be used as a poster for classroom walls. Pupils can add examples for each strategy from their group reading texts. We suggest that each group has at least three laminated A4 check-cards in their folder. See notes in ‘Managing group reading’.
Good readers:
See imagesCan you picture what is happening? Can you describe these images to the others in your group? Are your visions different to other readers’?
Hear a voice through the text Whose do you hear? How does it sound? How does it alter as the story ebbs and flows? How do the central characters sound? Do you hear the noises of the action – birdsong? Car tyres screeching? Explosions? Laughter? Music? What kinds? Does your soundtrack tell us something about the characters in the story/play? What?
Predict what will happen Can you work out where the plot is heading? Be ready to tell where you think this is all leading. Don’t worry if you’re wrong. Sometimes the author wants to trick you. Try to keep one jump ahead. Share your expectations and revise them in light of what happens.
Speculate about characters and events It’s the vicar’s wife who does it and she buries them in the church crypt while her husband is bellringing.
Ask questions Why is he doing that? Why does he keep a goldfish in the freezer? What does that tattoo of a rose on his bottom signify? Why has the author presented him like this, what effect is he/she after?
Pass comments I hope he gets what he deserves! Not while there’s a breath in my body would I do that! She’s so slimy!Why has the author…?
Feel involvedRun! Go on. Get out of there! Watch out! Oh no!How has the writer wanted me to feel? How has he/she achieved this?
Empathise It’s just like when I… That’s just what I’d do.
Rationalise what is happening So if he’s an angel why does he poo pellets?
Reread Go back over the best bits, check your suspicions, enjoy it again. Sometimes you need to revisit to make sense.
Re-interpret Keep checking and evaluating your ideas. Rework them. E.g. perhaps Doctor Death carried out genetic experiments and Skellig...
Interpret patterns Storytellers and playwrights rely on our previous reading experiences to make connections; they use structures which tease our understanding, they lead us down alleyways, they trick us. Readers who can infer and deduce, see the patterns, they keep a lookout for the shape in the shadows – they constantly strive to make sense out of the seemingly random nature of events.
Relate to your own experience I once saw this television programme where...
Pass judgements This is the most confusing load of twaddle I’ve ever had the misfortune to...
Relate to previous reading experiences I liked that one about the chocolate factory but this is more scary.
Establish a relationship with the writer/narrator He seems to remember things so clearly even though it was fifty years ago. It’s like we’re there together and he’s just explaining what’s taking place.
Relate to the social, historical and cultural backgroundIt sounds sexist, but in those days no one expected a middle-class woman to work.
Strategy check-card – fiction/drama
In my reading I:
infer and deduce see images/visualise hear a voice through the text predict what might happen speculate about characters and events summarise
respond ask questions relate to my own experiences pass comments feel involved empathise
reflect rationalise what is happening reread re-interpret? pass judgements interpret patterns (theme, language, structure) relate to previous reading experiences establish a relationship with the author/narrator relate text to its time and place
i. This set of prompts which apply to any book will need to be edited to make them manageable for pupils of different attainment levels and specific to texts.
ii. It will help most if the prompts are framed and focused to a particular text and objectives, especially for guided sessions.
iii. During independent group reading we suggest that each group has the prompt sheet as an A4 laminated card that they can refer to if stuck.
iv. You may want to enlarge the prompts and use them as a poster in the classroom. Sections of the poster could be made interactive and pupils invited to add examples from the texts they read on sticky notes.
v. The prompts could be copied for pupils to keep in their reading journals as a checklist and could also be used as foci for reading homework.
Prompts sheet for responding to fiction/drama texts
CharactersDoes the author tell us: how they appear to others?
What kinds of words are used to describe their features, build, clothing. What does the writer want to suggest to the reader about the character’s behaviour, attitude, or interests?If drama, is a particular costume suggested? Why?
what they do?What can the reader infer about the characters from their actions and behaviour? If drama, do the stage instructions help our understanding of characters? E.g. movements, facial expressions that will tell the audience something about a character.
what they say?Does the writer use direct speech? What does this tell us about what the character thinks, feels or is likely to do? In drama, how does each actor’s speech tell the audience about their character and the other characters they talk about?
how they say it?How does the writer make the character speak? Are they always talking about the same thing? Do they have a particular way of talking, e.g. dialect, tone? What is the writer saying about their background, feelings or interests?Does the playwright indicate, through stage directions or particular words and phrases, how the character should speak? Why?
what other characters say/think about them?How are we made to see them through other people’s eyes? Do other characters like or dislike them, admire/despise them, trust/distrust them? Do we believe what others say about them?In a play, how will particular movements, positions or facial expressions indicate the different relationships and feelings between characters?
Setting and atmosphereDoes the writer: establish the sense of a place, weather, time? create a particular atmosphere?
e.g. tense? mysterious? give details of the setting?
How does this link with the atmosphere created? choose specific vocabulary to create mood?
Can you find examples of nouns, adjectives, verbs which do this? use images? Use stage instructions?
To create effects? Are these linked to a subject or theme? link setting/mood to the action or characters’ feelings?
e.g. is a sad scene set in a rainy, windy, open space?
Author’s viewpointDoes the writer: openly state a point of view or are we left to deduce it? deliberately avoid stating a point of view?
And encourage us to form our own view about characters and events? tell the story from a narrator’s point of view?
Can we trust the narrator? give the reader several different points of view?
Have more than one narrator (multiple narrators).
Style and languageAll writers choose language to suit their purpose and audience.
Does the writer use: formal/informal language?
Find an example. Why is this style chosen? What is its effect? mostly short or long sentences?
Think of some examples. What is their effect? repeated words, phrases or, in a play, sounds or movements? direct or indirect speech? complex, unusual vocabulary or simple, straightforward vocabulary and everyday words?
Why? What effect is the author after? one tense more than any other? Why? imagery to enhance the reader’s feelings, to help us visualise the scene/person? a direct address to the reader?
What effect does this have on us? a first or third person narrator and, if so, why? language closely linked to a theme, e.g. greed, jealousy?
Find some examples. a range of stylistic and rhetorical devices?
e.g. repetition, alliteration, assonance, onomatopoeia? specific punctuation for effect? sound effects, movements, props in a play for particular effects?
Starter/introduction sessions The group reading unit aims to consolidate and develop pupils’ independent reading strategies and encourage them to be more aware of the strategies they a) already use regularlyb) need to develop and refine.
This kind of reflective thinking is vital to pupils’ cognitive development and needs to be taught, not caught. To become more independent learners it is helpful if pupils can explain how they:
think; approach problems; reach solutions; make links and connections.
To support this, each lesson in the group reading unit has a 15-minute whole-class starter/introduction session. During this session the teacher demonstrates a specific reading strategy linked to the Framework objectives and QCA’s assessment focuses and exemplifies it with reference to the group texts being read in class.
Lessons Aspect Reading strategies1 Reading strategies All2 Openings, setting Visualise, predict, speculate, reread and re-interpret3 Character Read between the lines: infer and deduce, empathise,
reread4 Structure See patterns, read backwards and forwards5 Themes Ask questions, see patterns, read backwards and forwards,
summarise6 Author’s viewpoint and intentions Hear an authorial voice, ask questions7 Narrative style See patterns, analyse story grammar8 Authorial voice Hear an authorial voice, infer and deduce9 Endings Draw on prior reading experiences, speculate, infer and
Starter/introduction session Lesson 1Focus Reading strategiesObjective Y7 R6 Adopt active reading strategies to engage with and make sense of texts, e.g.
visualising, predicting, empathising and relating to own experienceY8 R4 Review their developing skills as active, critical readers who search for meaning
using a range of reading strategiesY9 R5 Review and develop their own reading skills, experiences and preferences, noting
strengths and areas for developmentReading strategy targeted
Awareness of the range of reading strategies used by good readers
Activities/ support material
1. Establishing routines and expectationsBefore embarking on the group reading unit teachers will want to use Lesson 1 to outline the necessary routines, ground rules and parameters for pupils in a group reading session.
Using the website section Managing group reading, use the next 20 minutes of the lesson to explore:
i. the aims and structure of the unit;
ii. the shape of individual lessons;
iii. group organisation;
iv. use of the materials: group cards, Strategy check-card and prompts.
Allocate the texts and use the ‘tasters’ to grab pupils’ interest in their book and to let the whole class know the range of texts being read in the classroom.
2. Cut up the support sheet for the Strategy check-card (Appendix 1).
To ensure pupils have an awareness of what each reading strategy involves, make packs of cards for pairs or threes consisting of:
i. the reading strategy headings;
ii. the exemplifications of each strategy.
Ask pupils to quickly match them up into pairs (heading and example). If necessary (and do not labour the exercise unduly) have some of the cards on OHT and use these to review pupils’ decisions as a class.
Alternatively, put the reading strategy headings on cards and place in a closed box or bag in the middle of each group table. Ask pupils in turn to pull one out and ask the person next to them to give an example or explain what the strategy involves, in their own words.
Can you picture what is happening? Can you describe these images to the others in your group? Are your visions different to other readers’?
Hear a voice through the text
Whose do you hear? How does it sound? How does it alter as the story ebbs and flows? How do the central characters sound? Do you hear the noises of the action – birdsong? Car tyres screeching? Explosions? Laughter? Music? What kinds? Does your soundtrack tell us something about the characters in the story? What?
Predict what will happen
Can you work out where the tale is heading? Be ready to tell where you think this is all leading. Don’t worry if you’re wrong. Sometimes the author wants to trick you. Try to keep one jump ahead. Share your expectations and revise them in light of what happens.
Speculate about characters and events
It’s the vicar’s wife who does it and she buries them in the church crypt while her husband is bellringing.
Ask questions
Why is he doing that? Why does he keep a goldfish in the freezer? What does that tattoo of a rose on his bottom signify?
Why has the author presented him like this, what effect is he/she after?
Pass comments
I hope he gets what he deserves! Not while there’s a breath in my body would I do that! She’s so slimy!
Feel involved
Run! Go on. Get out of there! Watch out! Oh no!
How has the writer wanted me to feel? How has s/he achieved this?
Go back over the best bits, check your suspicions, enjoy it again. Sometimes you need to revisit to make sense.
Re-interpret
Keep checking and evaluating your ideas. Rework them. Perhaps Doctor Death carried out genetic experiments and Skellig...
Interpret patterns
Storytellers sometimes rely on your previous reading experiences to make connections; they use structures which tease your understanding, they lead you down alleyways, they trick you. Readers who can infer and deduce see the patterns, they keep a lookout for the shape in the shadows – they constantly strive to make sense out of the seemingly random nature of events.
Relate to your own experience
I once saw this television programme where...
Pass judgements
This is the most confusing load of twaddle I’ve ever had the misfortune to...
Relate to previous reading experience
I liked that one about the chocolate factory but this is more scary.
Establish a relationship with the writer/narrator
He seems to remember things so clearly although it was fifty years ago. It’s like we’re there together and he’s just explaining what’s taking place.
Relate to the social, historical and cultural background
It sounds sexist, but in those days it was considered outrageous for a middle-class woman to work for her living.
Starter/introduction session Lesson 2Focus Narrative hooksObjective Y7 R12 Comment, using appropriate terminology, on how writers convey setting,
character and mood through word choice and sentence structureY8 R5 Trace the development of themes, values or ideas in textsY9 R18 Discuss a substantial prose text, sharing perceptions, negotiating common
readings and accounting for differences of viewsReading strategy targeted
Inference and deductionAsk questionsPrior knowledge
Activities/ support material
Take one of the following suggestions for the 15-minute session:
1. Use narrative hooks sheet (on the next page) and do a cut-up activity, asking pupils to match the hook to the opening. This could be differentiated according to extract.
In pairs, ask pupils to create their own narrative hook, based on examples from the worksheet.
Create newspaper headlines based on the opening page of the text, focusing on the key hooks.
2. Activating prior knowledge – response partners – what makes an effective opening? How do writers get readers involved in their stories?
Take the pupils’ ideas and create a set of criteria for an effective opening. Write these on to strips of acetate and ask pupils to arrange them in a rank order on the OHP: most important at the top, least important at the bottom.
Now look at the narrative hooks sheet (attached). Were all the types of hooks covered?
3. Create annotation cards/a chart for pupils to identify the hooks in the opening to the text they are reading, e.g.
i. Clear and simple sentences allow me to get on with the story
ii. Powerful verbs
iii. Short dramatic sentences
iv. Dramatic vocabulary
v. Hints and suggestions
vi. Clear descriptions
vii. Complex sentences to add layers of meaning
viii. Use of questions to draw me into the story
ix. Use of an adverb to start the sentence to make it more interesting
x. Alliteration/onomatopoeia
xi. Imagery
(Key objectives bank: Year 8)
12
Narrative hooks – prompt sheet
Effective introductions do two basic things – grab the reader’s interest and make the reader want to read on. The following are a variety of techniques that can be used as narrative hooks in an opening to a story. More than one hook can be used!
Narrative hook ExampleThe outrageous hook – this will make you do a double take. Did I really read that?
‘As Mrs Ebbel went over the correct answers with the class, Bradley took out his pair of scissors and very carefuly cut his test paper into tiny squares.’There's a Boy in the Girls' Bathroom – Louis Sachar.
The puzzling hook – this immediately makes you ask questions of the story.
‘Lyra and her daemon moved through the darkening Hall, taking care to keep to one side, out of sight of the kitchen.’Northern Lights – Philip Pullman
The quotation hook – this can connect you with something you already know and it can make the writer seem more credible.
‘This tale is true and mine. It tellsHow the sea took me, swept me backAnd forth ... ‘from The Seafarer, in The Wanderer – Sharon Creech
The startling hook – this makes you think twice, but isn’t as shocking as the outrageous hook.
‘I disappeared on the night before my twelfth birthday.’Kensuke’s Kingdom – Michael Morpurgo
The direct address hook – you are spoken to directly and feel involved from the start.
‘I have a stone that looks like a snake: all curled up. It’s my most precious thing. I’ve had it since I was born, you see.Do you ever think about being born?’ The Snake-stone – Berlie Doherty
The subtle hook – a bit like the startling hook, this appeals to your sense of curiosity. Who is she?
‘She started with the universe.’ Counting Stars – David Almond
The atmospheric hook – this is descriptive, and could evoke any variety of moods.
‘A cold, wet day in December. The worst kind of day for the backlands. The clouds were so low they seemed to trail their mists in the treetops and already, at half past three it was dark within the forest.’ The Giant Under the Snow – John Gordon
The visual hook – appeals to our sense of sight.
‘Our classroom looked smashing. Lots of silver tinsel and crepe paper and lanterns.’ A Northern Childhood – George Layton
The funny hook – this is a tricky hook and only works if it appeals to your sense of humour.
‘When Bill Simpson woke up on Monday morning, he found he was agirl. He was standing, staring at himself in the mirror, quite baffled, when his mother swept in.‘Why don’t you wear this pretty pink dress?’ she said.’Bill’s New Frock – Anne Fine
The question hook – you want to read on to find the answer.
‘How does one describe Artemis Fowl?’Artemis Fowl – Eoin Colfer
The direct speech hook – this implies lots of action and a fast pace.
‘‘I don’t care if your friend Darren has a python, a cockatoo and a marmoset monkey,’ said mum, ‘the answer’s still no.’Jake’s Magic – Alan Durant
Starter/introduction session Lesson 3Focus CharacterObjective Y7 R8 Infer and deduce meaning using evidence in the text
Y8 R7 Identify the ways implied and explicit meanings are conveyed in different texts, e.g. irony, satire
Y9 R12 Analyse and discuss the use made of rhetorical devices in a textReading strategies targeted
Inference and deductionVisualisationEmpathise
Activities/ support material
1. Text-mark on OHT extract A (5 mins). Identify the features of explicit and implicit description of character. As you annotate ask yourself and answer questions like:What does this word imply? What does this phrase make me think? What makes me think that (name) thinks or feels this way? How has the writer told me this?Take the opportunity to model the kinds of language used when writing about inference:The writer is implying that … ; By using the word … the writer suggests that …Although (character) says … his actions contradict this and we can deduce that …The closing line implies that he might be considering …
2. Give pairs extract B to text-mark in a similar way. (5 mins)
3. The characters in extracts A and B are married. They are together in the same place, thinking these thoughts.In pairs decide upon a setting where this action might be taking place. One partner should sketch quickly how they visualise it. Which clues in the text helped you to do this? The other should highlight two key phrases in each extract that helped you to empathise with these characters. How did the writer help you to step into the shoes of these characters? What does the future hold for this couple? (5 mins)
Note: Remind pupils that, while inference and deduction is a reading strategy that they use automatically, and continuously, when reading fiction, they need to sometimes make themselves explicitly aware of the writer’s craft so they can talk and write about how an author uses inference to inform the reader.
Extract A‘John Jennings was angry. He was angry for a number of reasons and he knew who to blame. It wasn’t so difficult to read a map was it? Any idiot could follow the simple numbered instructions he’d written out for her, so carefully, before they set off. He’d even highlighted, in yellow, the route they were supposed to take on the pages of the A-Z. So what was her problem?
Not exactly the first time this had happened. Oh no, not by a long way. He suspected she did it on purpose. She wanted him to feel this way. She wanted him to boil and rage inside. It made her happy. He knew her ways. He knew what she was up to. It was all so familiar.’
Extract B‘Her mother had been right all along. Whatever had she seen in him? Forty years of marriage and it had come to this. What a waste of a life. Why had she done it? She ought to have known better. Of all the men in the world, why did she have to choose him? What was she supposed to do now? What choices did she have?
Why did he always act this way? What was his problem?
Not exactly the first time this had happened. Oh no, not by a long way. She suspected he did it on purpose. He wanted her to feel this way. He wanted her to boil and rage inside. It made him happy. She knew his ways. She knew what he was up to. It was all so familiar.’
Starter/introduction session Lesson 4Focus StructureObjective Y7 R15 Trace the ways in which a writer structures a text to prepare the reader for the
ending, and comment on the effectiveness of the endingY8 R10 Analyse the overall structure of a text to identify how key ideas are developed,
e.g. through the organisation of the content and the patterns of language usedY9 R12 Analyse and discuss the use made of rhetorical devices in a text
Reading strategies targeted
Mind-mappingSeeing patternsReread, re-interpret
Activities/ support material
Choose a novel/play that the whole class knows well and model how making a diagram or chart, e.g. a family tree or a map, can be a useful strategy for making sense of your reading by showing:
links between characters;
conflicting and contrasting themes;
high and low points in terms of tension;
the journey taken by a character, both factual and metaphorical.
Examples you might choose to demonstrate:
Temperature chart – a line graph tracking the build-up of tension, identifying climax(es) and falling action through chapters/scenes/sections of the text.
Follow this up by modelling reflective questions:What does this tell you about the way the writer has constructed the text? How does the structure compare with other texts you have read? How does it compare with your group reading book?
Spidergram – place character’s name in the middle and place the names of the characters he/she connects with around it, drawing lines to link one with another.
Reflective questions:What insights does this give you about a) particular characters? b) the way the author has connected characters?
Charts – create a two-column chart on characters. On one side discuss and list those characters who have changed and developed as the text progressed and on the other side characters who stayed the same.
Starter/introduction session Lesson 5Focus Identifying patterns and themesObjective Y7 R7 Identify the main points, processes or ideas in a text and how they are sequenced
and developed by the writerY8 R5 Trace the development of themes, values or ideas in a textY9 R7 Compare the presentation of ideas, values or emotions in related or contrasting
textsReading strategies targeted
SummariseSee patterns
Activities/ support material
Take a book that the class knows well, e.g. a class novel read together. If no text fits the bill, take a film everyone has seen as your example.
1. Identify the main themes for you (the key ideas that are threaded through the plot). Use abstract nouns, e.g. community, family, loyalty, love, betrayal, etc.
2. Have a prepared list of the key events in the book/filmed sequences. Place these on a tracking chart/time line on the whiteboard or OHT.
3. Show how each event/filmed sequence in some way develops, or relates to, one of the themes you have identified.
Starter/introduction session Lesson 6Focus Author’s craft and intentionsObjective Y7 R16 Distinguish between the attitudes and assumptions of characters and those of the
authorY8 R16 Recognise how texts refer to and reflect the culture in which they were produced,
e.g. in their evocation of place and valuesY9 R11 Analyse how an author’s standpoint can affect meaning in non-literary as well as
literary textsReading strategies targeted
Ask questionsSee patternsInference and deductionSelect, retrieve information
Activities/ support material
Most writers now have their own websites which contain background information on them and their books. Scholastic and other publishers often include profiles of individual writers. In this starter the teacher models the reading of a biographical piece on an author.
1. Using an interview with an author of one of the group reading books, e.g. Robert Swindells, author of Stone Cold, briefly outline the plot for those who do not know it (i.e. that the book is about a boy who becomes homeless and tries to survive on the streets of London). Life is tough, he finds and loses friends and in the process helps to track down a serial killer. The story is told through two parallel narrations which, by the end of the book, have become one.
2. Model for pupils the reading of such an article. Demonstrate, through speaking aloud the KWL (know/want to know/learned) process, the kinds of questions that are helpful to the reading, e.g.
KNOWThis is a chilling book which convincingly describes the experience of living on the street. It has two narrators: a young homeless lad and a psychopathic killer. Robert Swindells has written a number of books for young people, often on challenging issues, e.g. …
WANT TO KNOWHow did the idea for this book come to him?What research did he do before writing the book? How did he know what it feels like to be homeless?How did he know where to get a free cup of tea in London?Was there anything in his personal life that influenced his writing of the book?How did he research the way the mind of such a killer might work?Did he write several drafts or did he write it in one go?Does he write by hand or on a computer?
LEARNEDDemonstrate how to turn the information you have found into a reading journal entry that may be useful to incorporate into a later piece of writing about the book, e.g. a book review or presentation to the class.
Starter/introduction session Lesson 7Focus Narrative styleObjective Y7 R14 Recognise how writers’ language choices can enhance meaning, e.g. repetition,
emotive vocabulary, varied sentence structure or line length, sound effectsY8 W11 Appreciate the impact of figurative language in textsY9 R12 Analyse and discuss the use made of rhetorical devices in a text
Reading strategies targeted
Analyse story grammarSee patternsAsk questions
Activities/ support material
1. Select and model the reading of a particularly rich extract from one of the group reading texts.
2. Elicit from pupils their intuitive and instant response to the short extract.
3. Annotate the extract on an OHT to show how the author has selected and used words, phrases and punctuation to create this effect on the reader. Refer to sections of the Prompts sheet.
Starter/introduction session Lesson 8Focus Authorial voiceObjective Y7 R16 Distinguish between the attitudes and the assumptions of characters and those
of the author Y8 R5 Trace the development of themes, values or ideas in textsY9 R18 Discuss a substantial prose text, sharing perceptions, negotiating common
readings and accounting for differences of viewReading strategies targeted
Identify author’s voiceInference and deduction
Activities/ support material
Voices in the text
Collect four opening paragraphs or extracts from the group reading texts on OHT. A useful one here would be Stone Cold with its triple narration, i.e. Link, the murderer and the author.
1. Talk through one of these on OHT, showing what we mean by ‘voice’ in a text. (See teacher support sheet.) Model discussion and sentence starters, such as:We can see by the way (name) is described, that we are meant to see him as …The author has given (name) the role of the outsider … The main character narrates the story, and it is through her eyes that we see …
2. Look at two more openings together and ask pupils what voices they hear in these texts.
3. Discuss how many different voices might be heard in a text (i.e. author, narrator, characters).
4. Ask pupils to define the difference between the narrator and the author. (See teacher support sheet.)
5. In pairs ask pupils to brainstorm the different ways in which the author’s voice can be heard in a text (e.g. through character, tone, narrative style, direct address, irony).
6. Give pairs the fourth extract and ask them to explore the signs of an authorial voice.
An introduction to narrative/authorial voicePoint of view, first person, third person: whichever you use, a story can’t be written without using point of view. The better we know the ways in which it can be used, the better use we can make of it in our own writing.
Narrative voiceThe two main points of view are:
third person narration (identified by pronouns such as he, she, they) – the narrator stands outside the story itself;
first person narration (identified by the pronoun I) – the narrator participates in the story.
This is where things become complicated, because the first and third person can be used in a variety of ways!
Third personThe third person narrator, because they are outside the story, can be ‘omniscient’ (all-seeing and all-hearing). This means that 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 to some of these minds and can therefore manipulate the reader to respond in a certain way.
First personThe first person narrator is usually a character within the story and is therefore limited in their understanding of the story – 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.
Authorial voiceThe characters are not the only ones that have a voice in the story. 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 the narrative voice and the authorial voice. The authorial voice is a controlling presence regarded by the reader to be a ‘guiding personality’ behind the story and therefore behind the characters. It can be seen in the author’s method of expression and use of language (e.g. direct address, use of brackets).
Authorial voice
Narrative voice
Characters
First person Third person – omniscient one viewpoint (all seeing/all hearing)
Starter/introduction session Lesson 9Focus Endings Objective Y7 R15 Trace the ways in which a writer structures a text to prepare the reader for the
ending, and comment on the effectiveness of the endingY8 R5 Trace the development of themes, values or ideas in a textY9 R18 Discuss a substantial prose text, sharing perceptions, negotiating common
readings and accounting for differences of viewReading strategies targeted
PredictionRereadingAsking questions
Activities/ support material
1. Teacher: very briefly take the ending of a story familiar to everyone and put the last paragraph on OHT. Model asking questions of the ending to establish expectations of the genre and the aspects which have been brought to the point of closure. For example:‘The big bad frog couldn’t believe his eyes. The princess was leaning down towards him. “Mmmmm”. Any minute now – and pow! Satin suits, white horses, a mighty castle – all would be his once more.’
i. What is the princess about to do?ii. What will happen to the frog?iii. How will the story end?iv. How do we know?v. What type of story is this?vi. Is the outcome certain?
2. Give pupils the endings to two novels or short stories. Ask them to read these in pairs and to briefly jot down for each their answers to:
i. what kind of story is this? What is your evidence?ii. what was the main ‘problem’ in the story? What hints at this?iii. what do you think has happened? How do you know?iv. how might the story have opened (given that endings often go back to the
beginning in some way or another)?v. ask pairs to swap their responses with another pair and discuss the differences
and similarities between their suppositions. vi. put the endings up on OHT and briefly run through the full story-lines. Ask pupils to
consider how close they were to the real story-line and what reading strategies and evidence they had used to ascertain this.
Homework suggestionInstead of giving pupils the beginnings of stories to continue, give pairs one of the following endings to mystery stories. Ask them to discuss the clues they are given in the ending on what the story may have been about. How might the story have begun? Ask pupils to write a brief synopsis and draft the first two paragraphs of the story.
‘We discovered he was all alone in the world. A dusty pile of newspapers, a drawer full of broken treasures, all that was left of a life of action. Night falls now and the whispering starts.’
‘Believe it or not, I looked out into the garden. Not a soul was in sight, but behind the withered tree, near the old pond, I thought I saw a flicker of blue. Sometimes the light plays strange tricks.’
‘And I know that it’s still not over. One day, a letter will come with a strange postmark, the writing will be spidery and familiar. I shall have to move on.’
‘As the light fades, I write these last few words. I do not know if anyone will find the secret of the fallen stones. My tale is a strange one, perhaps better left secret and forgotten.’
Group presentations on a textMaterial to support Lessons 10 and 11Group reading is a shared, social activity and the last two lessons of each group reading unit of work are focused to preparing a short (maximum of 10 minutes) presentation to the whole class, designed to persuade or dissuade others to read their book. The following are some brief suggestions for supporting pupils as they prepare for their presentation.
As the time to prepare and present is short, it will be important that pupils work to clear time allocations. For this reason it may be best to suggest that pupils expand on work already started as part of their group reading tasks, e.g. an author study, a mind-map of the plot, role-played interviews with the author or key characters, etc.
Useful material from the Key Stage 3 National Strategy to support your work with a class on such presentations includes:
Year 7 speaking and listening bank: SL19, Reflecting and evaluating presentations.
Literacy across the curriculum 2001: module 9, Note making, and module 10, Using the library/learning centre.
Setting the task – a checklist to help things go well Preparing a presentation is a demanding task. Supporting pupils by giving them close parameters can be helpful as will preparation and planning with the school librarian/information manager.
To maximise the chances of a successful outcome it helps if you:
share models of effective presentations undertaken by previous classes;
discuss the criteria for an effective presentation with pupils (this can be used later for a plenary and feedback). You could make this into a poster that pupils can refer to as they work;
ask all groups to prepare a brief outline and share this with you before they go on to work on their presentation;
be specific to pupils about:
the timescales for preparation;
the time available for the presentation;
the purpose and audience, i.e. to entertain and interest others in the book (see suggested ways to support pupils in such a task below);
ensure you timetable yourself to join each group to guide and steer their work (this will usually involve advising them to cut their material down and keep it simple!);
enlist the help of other adults for the preparation session;
inform the library/learning centre in advance through the department’s long- and medium-term plans and consult the librarian about materials available to support pupils, e.g. websites, author studies from magazines, etc.
Suggestions for presentations1. Tasters/trailers (see outline below with instruction cards for groups)
2. PowerPoint/intranet presentation (see outline below with instruction cards for groups)
3. Wall presentation for library/corridors
4. Dramatic interpretation of a key scene
5. Freeze-frame/tableau with questions to characters in role
6. Diagrammatic representation of a plot
7. Wall poster of quotations from the group’s reviews of the book c.f. press notices
8. Interviews with key characters about a certain event (with narrated links)
9. An interview with the author (c.f. TV Book programme)
10. A This is your life style of presentation for one of the characters
Two suggested outlines for supporting pupils in devising a presentation
Tasters – prepared readings from the book with scripted links between them1. Discuss which moments in the book were most memorable for each member of the group. This is
best done very quickly around the group. It is likely that the most memorable points will also be significant points in the story. (5 minutes)
2. Put these extracts in chronological order (the order they happen in). Remember that if you want others to read the book it is better not to give away the ending… (5 minutes)
3. Choose three out of the six extracts (you need to be able to present all three extracts within 10 minutes) and allocate one to each pair.
4. In pairs prepare the reading of your extract, this could involve taking parts of characters as well as sharing the narration; adapting the extract into a playscript (add ideas here). Remember to time yourselves. (25 minutes)
5. Script the links between the extracts (give each pair the link before their extract to write) and choose (or draw lots to decide) one person to read them between the extracts, e.g. We want to introduce you to the main character in our book – Tracey Beaker…; In the next extract Tracey is…; One important thing that happens to Tracey is when…; We think everyone, boys and girls, will enjoy reading this book. It’s fun and a quick read but it also raises some serious issues about growing up and about society as a whole. (15 minutes)
6. Put the whole piece together. (10 minutes)
7. Rehearse your parts for homework.
A school intranet presentation with hotlinks to web reviews and book sitesThis could take the form of a PowerPoint presentation designed to encourage others to read the book and could be posted on the school library intranet site. This will ideally involve advice and guidance from the school librarian/ICT teacher, e.g. on websites for research, on how much can be included on a PowerPoint slide, etc.
1. As a group decide three areas that your presentation should include (it will be different for different books). Suggestions: an outline of the plot, one or two reviews, facts about the author, taster extracts from the text to encourage others to read the book, interviews, etc. (10 minutes)
2. Allocate each of the three chosen topics to a pair and use the school library resources to research and produce three or four PowerPoint slides on each topic, i.e. 12 slides in all. (40 minutes)
3. You will need to identify one person to compile the material into a presentation and one person to edit the material so that it has an introduction and a conclusion and hangs together (homework is a possibility for this).
4. Each pair rehearses their presentation. (10 minutes)
The following may be a useful checklist for pupilsGuidelines for presentations
1. Make sure you understand what you are asked to do and stick to it!
2. Prepare well
3. Don’t be too ambitious – it’s better to do something simple well
4. Adapt the talk to suit your audience
5. Know what you are talking about – don’t just read
6. Use Prompts sheets with key words on them to help you
7. Have a clear introduction and conclusion
8. Remember to look at your audience as you speak
9. Practise your presentation in front of a friend or mirror or record it on a tape
10. Check your timing
11. If using equipment (OHP, tape recorder, etc.) check that it’s working well
Book tastersYear 7Goodnight Mr Tom, Michelle MagorianEvacuated from London during the second world war, Willie Beech escapes from an unhappy background. He arrives in a country village, a strange new world for him, and starts living with the recluse ‘Mr Tom’ who does not easily understand children from the city.
Things do not look promising for the characters of Goodnight Mr. Tom. But, the relationships that begin to grow between the people of Little Weirwold and the London evacuee Will, compel the reader to become a part of their world. By the time Will’s mum wants him back he dreads going home, and once there he nearly doesn’t make it. His only hope is to reach out to Mr. Tom from the darkness of his mind and hope that he is heard. ‘Mr. Tom. I want you, Mr. Tom.’ This is a heart-warming book about the strength of the human spirit and the love that can grow between very different people.
Black Harvest, Nigel Gray from the novel by Ann PillingAn atmospheric play which makes for a tense and gripping performance. A modern family are on holiday in a new cottage on the west coast of Ireland. It soon becomes clear that all is not well – the telephone refuses to work, milk and food go bad overnight and Prill is haunted by the vision of a ragged, starving old woman. The play links the modern day to the times of the Irish famine through the character and memory of an old man who lives in a caravan nearby.
Two Weeks with the Queen, Morris GleitzmanIt’s bad enough if your brother is always stealing the show, but what if you found out he was going to die? When Colin’s brother Luke becomes seriously ill with leukaemia, he is determined to get the best help possible – even if it means travelling to England. He decides to go straight to the top – and that means the Queen (who unfortunately does not live in Australia!). With the help of the Royal Fish and Chip Bar, this miniature Crocodile Dundee sets off on some hazardous and hilarious adventures.
After an uneventful start in the exciting local DIY store, Colin decides to escape from the clutches of his over-protective Aunt and Uncle. Enlisting the help of his timid whale of a cousin, our intrepid hero is soon scaling the walls of Buckingham Palace and planning trips up the Amazon for death-defying drugs.
In his search for the best doctor in the world, he meets Griff and his terminally ill friend. Drawn into this tragic circle, Colin begins to rethink his values and reassess his brother’s chances of survival. Is he really doing the right thing? Or does the real solution lie closer to home?
A laugh-out-loud comedy. This fast, funny and touching story has all the elements of a ‘Corkin’ good read, Cobber!’
Little Soldier, Bernard AshleyKaninda is an orphan from the war in East Africa, where he was a boy soldier, but even in a comprehensive school in south London he finds clan and tribal conflicts are very much alive. When a new African refugee joins his school, Kaninda tries to kill him, literally! Trained as a guerrilla fighter in war-torn Mozambique, Kaninda feels fully justified in seeking revenge on any Ysulu, the tribe that massacred his family. Now far from home, ‘Ken’ finds his boy soldier’s skills yet more vital for survival in the concrete jungle of London’s Docklands.
Ken becomes caught up in rough justice as rival Thames gangs hunt down hit-and-run drivers and racist thugs. Helped by the rebellious Laura, Ken plots to return to his homeland aboard a sugar tanker. Before he goes, he has to settle old grudges – an eye for an eye, a tooth for a tooth. Wielding his stolen knife, Ken confronts his sworn enemy and his future. Weaving the grim reality of war in all shapes and forms with Laura’s guilty flashbacks, this book is one you will want to read to the bitter or better end.
Whispers in the Graveyard, Theresa BreslinSolomon is full of anger – with his father, his teachers, the adults who have failed him. His refuge is one corner of the graveyard where he can feel at peace. When workmen uproot a rowan tree, the only living thing in that corner of the graveyard, an ancient and evil power is unleashed which Solomon must have the strength to fight…
Year 8Bretevski Street, (playscript) Lin Coghlan ‘I realised what was really important to me about this story. I felt that any one us might do terrible things if we were put in a terrible situation. Neighbours could turn against neighbours and friends against friends. All it would take was enough fear.’ (Lin Coghlan)
Set in a fictional Balkan state, Bretevski Street focuses on two neighbourhood families from two ethnic backgrounds, Samac and Bretev. As the play unfolds, it becomes painfully clear that their coexistence is threatened. The ever-closer rumble of guns of war in the region creates tensions and the loyalties of the young are severely tested. More powerfully still are the unforgiven deeds from past conflicts.
Resolution for the families is hard won in this highly topical, thought-provoking play.
Holes, Louis Sachar Stanley Yelnats’ family has a history of bad luck, so he isn’t too surprised when a miscarriage of justice sends him to a boys’ juvenile detention centre. At Camp Green Lake the boys must dig a hole a day, five feet deep, five feet across, as deep and as wide as a shovel, in the dried-up lake bed. The evil Warden with her lizard-venom impregnated fingernails claims that the labour is character building but has her own reasons for making the boys in her charge dig so many holes. Stanley must dig up the truth. This is just the beginning. Other stories unfold and gradually they fit together like the pieces of a puzzle. We learn that fate has been at work in the lives of all of the characters.
If you are looking for a truly remarkable novel, then look no further than Louis Sachar’s extraordinary, award-winning novel Holes.
Chinese Cinderella, Adeline Yen MahThis book is the moving autobiography of Adeline Yen Mah, a young Chinese girl born into a wealthy and powerful family in China. But her life begins tragically. After her mother dies giving birth to her, Adeline’s family labels her ‘bad luck’, causing her to grow up with the guilt that she alone is responsible for her mother’s death. Things become even worse at home when Adeline’s father remarries. Restricted to one small area of the house, Adeline and her siblings are mistreated while her stepmother favours her own children born soon after the marriage. An outstanding student and the winner of many academic awards, Adeline revels in the praise she receives from her Aunt Baba and grandfather, Ye Ye, and lives in hope that her father might someday be proud of her. This book outlines Adeline’s struggle to find a place where she feels she belongs.
The Ruby in the Smoke, Philip PullmanSally Lockhart’s father was an unconventional man. When he dies suddenly on a voyage to the Far East, Sally receives a mysterious letter containing a strange warning. Soon Sally finds herself at the heart of a deep and dangerous mystery, one she is determined to solve at all costs.
Sally is a very attractive sixteen-year-old. Her education has been unusual, she knows little about the usual subjects at school, but she has a thorough grounding in military tactics, can run a business, ride like a Cossack and shoot straight with a pistol. When her father is drowned in suspicious circumstances in the South China Sea, Sally is left to fend for herself, an orphan and alone in the smoky fog of Victorian London. Soon Sally finds herself in danger and the mystery all comes from the ruby in the smoke.
The Wind Singer, William NicholsonThe Wind Singer is the first novel in a trilogy. Set in a world where the people are divided into groups according to how well they perform in The High Examination. If they fail as children, they are de-classed, if they pass they are promoted and allowed to live in the more attractive spaces of the city of Aramanth. Disobedience or behaviour that those in power dislike ends in severe punishment.
Kestrel and Bowman Hath are twins, and we first meet them on the day their baby sister is about to take her first test. She fails, but the family is disgraced further when Kestrel is labelled as a ‘wild child’ and is sent to Special Teaching – a place from which she may never escape – and her father is banished to the Residential Study Course. But Kestrel has met the Emperor, and he told her the history of the Wind Singer – the monument that overlooks the city but no longer has a voice. What follows is an intense adventure as the children go on a dangerous journey beneath the city and through the Underlake – a stinking lake of decomposing matter inhabited by the real, and sometimes extremely dangerous, underclasses – as they search for the Wind Singer’s voice.
Year 9Coram Boy, Jamila Gavin‘The transaction was rapid. A heavy purse of money went into Otis’s pouch and he took the basket with a great show of reverence and concern, as if he would protect it with his life.’ Meshak knew differently. His father was a master of disguise, deceiving rich and poor alike and his trade was in children. But there is another story weaving its way through this novel, a story of friendship and passion that becomes inextricably linked with that of Otis and Meshak with the most intriguing results.
The setting is eighteenth-century England, where who you were when you were born meant everything. Coram Boy is a book about growing-up, struggle, tradition and corruption. Readers can smell the dirty streets and close living of urban London contrasted with the finest country houses.
Stone Cold, Robert Swindells(Winner of the 1994 Carnegie Medal) Link, 17 years old and driven from his parental home, has drifted to London, jobless and friendless. He vividly recounts the day-to-day experiences of a homeless person. Because he tells it like it is, his descriptions of sleeping rough shatter any romantic notions. Life is hard, cold and unfriendly, until he meets Ginger. His new friend shows Link how to survive, where to go for shelter and where the best begging places are. Then Ginger disappears and Link makes a new friend, Gail. He stops worrying about everything else, but other kids are still vanishing. Will it be Link’s turn next? If this was just another diatribe on the perils of sleeping rough, the reader’s interest would soon wane, but it is far more gripping than that. The author alternates Link’s tale with that of an unknown serial killer preying on the homeless.
Tulip Touch, Anne FineNobody wants to be around Tulip, her attitudes to others make people scared. Her outlandish behaviour doesn’t matter to Natalie however, who has just moved into the locality. At first she finds Tulip exciting and she doesn’t care that other people are the victims of her pranks. But then Tulip’s games become increasingly sinister, and Natalie realises that Tulip is going too far.
Tightrope, Gillian CrossEddie Beale looks after his friends, people say, as long as they entertain him. At first, Ashley is happy to put on a show for Eddie. Then she realises that someone is stalking her and leaving messages that become uglier and uglier. Can Eddie help? And if he does, at what price? For Ashley, securing his help will mean scaling new and dangerous heights ...
Tightrope is a sharply observed, concisely written thriller of a book. There are ‘near-miss’ action scenes, where time seems to stand still. Each chapter ends with a passage from the point of view of another character – perhaps someone known to Ashley, but at other times, complete strangers who have only gained a glimpse of her life. By combining viewpoints from the book’s major and minor characters, the author makes the reader question the events that have just been witnessed; the ‘tightrope’ between right and wrong, reality and fantasy is constantly tensioned and flexed. All of this is underpinned with the leitmotif of a circus, and the whole story is set in a city landscape where suspicion and fear rule, and where frost on the litter counts as beauty.
Witch Child, Celia ReesIn sixteenth-century England Mary’s grandmother is pursued and executed as a witch. Mary has to leave her home to avoid the same fate; friends help her escape on a boat to America in the hope that she can start again and forget her past. During the journey, she finds it easy to fall under the suspicion of those around her. Witch Child is told in the form of pages from a journal found loosely sewn into an old quilt many years later. The story is told through the eyes of Mary, who shows wisdom and courage in a new world where those she is with have closed minds and the slightest mistake could end in her death. This is a tense and dramatic book about a world where everyone distrusts those who do not fit in.
Managing group readingClick on each of the following to see guidance notes:
1. Definitions of group and guided reading
2. Creating groups
3. Allocating texts
4. Who reads
5. Organising the paperwork
6. Establishing routines and expectations
7. Golden rules of group reading
8. Trouble-shooting: independent work
9. Letting books go home
10. Ten tips for running group reading successfully
11. Top tips for pupils
1. Definitions of group and guided readingGroup reading is distinct from guided reading in a number of ways, the main one being that groups work independently of the teacher. The following definitions are repeated from the leaflet that accompanies this group reading publication.
Group reading at Key Stage 3What is group reading?Pupils work in small groups independent of the teacher. Each group shares the reading of a specific text over a series of lessons and undertakes reading activities related to the text.
Why group reading? It provides a bridge between whole-class reading and reading that is not supported by the teacher.
It provides the opportunity to match the level of challenge and motivation to different groups.
Pupils have a more active, autonomous role in the process of reading and responding to a text.
Guided reading at Key Stage 3What is guided reading?The teacher plans and runs a small group session (e.g. 20 minutes) that follows an ‘instructional sequence’ and involves modelling a key reading skill or strategy targeted at the needs of the group.
Why guided reading? It provides a bridge from dependent to independent reading for pupils at all levels of attainment.
It allows for valuable responses from peers and teacher in a trusted small-group setting.
It enables explicit modelling of how ‘to behave like a reader’.
It ensures individual assessment and target-setting opportunities.
2. Creating groupsYou will have a range of criteria that you already use for creating groups in your classroom. The criteria for group reading may be:
reading attainment;
reading targets (skills identified for development);
appeal of text;
length of text;
speaking and listening skills.
Note: It is important to remember here that guided reading plays a key part in the units and that, to be effective, the criteria for guided groups need to be levels of attainment and specific reading targets.
References and hotlinksFor more useful guidance on creating and managing groups refer to: Managing group talk – module 7 of the Literacy across the Curriculum training folder, Key Stage 3 National Strategy English strand, 2001 (DfES 0235/2001) www.standards.dfes.gov.uk/keystage3/strands/publicationsGuided reading in English at Key Stage 3 (DfES 0044/2002)
3. Allocating texts At Key Stage 3 pupils vary enormously in both maturity and attainment, and choosing a book to suit a whole class can be particularly problematic. Group reading offers teachers the opportunity to allocate texts to specific groups and thereby offer an appropriate degree of challenge as well as appealing to their interests and concerns. There are a number of ways in which you can do this and the method you choose will depend on your knowledge of the class. Listed below are some alternative ways to allocate texts to groups with some consideration of the opportunities and challenges presented by each approach.
Method Pros Cons Possible solutionsTeacher allocates texts to groups on basis of reading demand
The reading level of a text is appropriately matched to pupils’ reading attainment
Texts may not appeal to all pupils in the group, e.g. boys and girls
To ensure titles appeal to groups this may be an opportunity to create, for example, temporary single-sex groups
Teacher reads out tasters of texts to whole class and groups bid for their first and second choices
Independent choice, groups feel ownership of their text and may as a result have a stronger commitment to the reading process
Groups could choose a text that is inappropriate in terms of challenge for independent reading
Groups that do not receive their first (or even second choice) can feel hard done by and demotivated
Ensure there is a range of group texts wide enough for the attainment levels in the class so as to ensure a genuine choice and minimise disappointment
4. Who readsGroups need to set up expectations and routines on how the text will be read at the beginning of the unit (e.g. they will note on the outside of their group folder who read last), otherwise they may waste precious time each lesson deciding who reads.
There are a number of ways to undertake the reading and this can depend on the reading ability or experience of group members (in the case of pupils learning English as an additional language, purpose is key, i.e. reading for inference/developing fluency, etc.). The important point here is that the group is responsible for getting through the reading.
Ways of organising the reading The text is read aloud by one person as the others follow in their books. This is probably the most likely form
of organisation but involves a sub-set of decisions:
a different person reads each lesson each chapter or section means a change of reader where there are no chapters, or they are of variable length, the reader changes every two pages
One strategy that has been found to work well, and which speeds up the reading, is if there is an agreement over the maximum and the minimum amount individuals will read (e.g. two paragraphs minimum, two pages maximum) and readers tap the table when they want the next person to take over.
Pupils learning English as an additional language will benefit from reading aloud and hearing text read aloud while following, especially if they are at the early stages of fluency in English. As ever, the group composition will be key, to ensure that there is an appropriate mix of pupils.
The group undertakes a ‘dramatic reading’, i.e. different pupils take the parts of characters. It is usually best if readers keep the same character throughout the reading of the text, with the person reading the more substantial narrator’s part changing regularly.
Pupils read silently to an agreed point on their own and then discuss.
Accelerating the reading will be appropriate for more able groups. It may also be appropriate to give each group member another title by the same author to read for homework, which they then present to the group.
Reading aloudReading aloud is an important life skill, and group reading provides an opportunity for all pupils to practise this in the relatively unthreatening context of a small group.
It is vital that as teacher you establish at the outset the golden rule that groups will be supportive and that it goes against the whole principle of group reading to express impatience if a group member falters or miscues.
We need to acknowledge to pupils that even for experienced readers it is hard to read aloud with fluency if you have not first skimmed the text. Wherever possible we suggest you set preparation for reading aloud as a homework, particularly for less confident readers and those learning English as an additional language.
It is important that all pupils have an opportunity to read the text aloud at some point in the unit. The self-evaluation proposed for the end of the unit includes a section on reading tone, expression and fluency.
5. Organising the paperworkAlthough web-based materials are convenient they always take time to download. In preparing a group reading unit we advise teachers to identify clerical support to undertake this task.
In writing the classroom materials we have tried to keep paper to a minimum, hence the suggestion that the group work cards are printed onto single-sided A4 laminated coloured sheets. Our strong recommendation is that the material for each text is printed on different coloured card. This should make it easier in a busy classroom for you and the groups to recognise the materials for their particular text.
Groups will need a folder (ideally in the colour allocated to their text) in which to store their books, group reading cards and reading journals. It can also help (and look more attractive) if you stick a photocopied front cover of the book on to each folder for easy recognition.
In terms of the Prompts sheet and Strategy check-card teachers may find it useful to edit these to suit their class, enlarge them and use as posters in the classroom or copy them for pupils to keep in their reading journals. During the group reading unit we suggest that each group has a copy of the Prompts sheet and Strategy check-card as A4 laminated cards in their group reading folder.
6. Establishing routines and expectationsBefore embarking on the group reading unit teachers will want to use Lesson 1 to outline the necessary routines, ground rules and parameters for pupils in a group reading session. This will involve advising pupils on:
the aims and structure of the unit;
the shape of individual lessons;
group organisation;
reading strategies;
use of the materials – group cards, Strategy check-card and prompts.
Groups will need to nominate a rotating chair to keep a check on the time, read out the group task and allocate different pairs to tasks as suggested on the group cards.
7. Golden rules of group readingIn the first lesson of the unit it is also a good idea to establish with the class what would be ‘golden rules’ for groups and individuals and then display these as a reminder. These need to be few, pithy and specific. You may want to contribute the following points if pupils do not raise them themselves:
Golden rules of group reading Keep all cards and books together in the group folder Keep the volume of reading and discussion to a level which does not disturb other groups Listen and show consideration to all as they read aloud and contribute to discussion Keep to the timings indicated on the group reading cards Always bring your book back to school after a homework reading task
References and hotlinksSee the sections on ‘Golden rules’ and ‘Group composition’ in module 7 of Literacy across the curriculum, Managing group talk, Key Stage 3 National Strategy English strand 2001.
8. Trouble-shooting: independent workRunning guided groups presents some challenges to teachers. At first guided work appears to involve a different style of planning, classroom organisation and teaching style. In particular, both group and guided reading involve moving away from the familiar experience of reading a novel or play as a whole class. A common concern for many teachers is how the rest of the class will respond to working on their own while the teacher gives his/her undivided attention to a guided group.
Suggestions for encouraging independent working during guided reading sessionsThis group won’t complete the task unless I harass them. Give the group a sequence of short tasks.
Offer an element of choice in the tasks to encourage commitment.
Allocate role of timekeeper. Build in stages to be checked by timekeeper.
Reward those groups who work well independently, e.g. give them your attention and offer praise in plenary.
Set a series of mini-tasks.
Ensure a concrete outcome is expected, e.g. expect feedback in the plenary.
Use the term: ‘Your challenge is …’
Identify a group leader for each session.
This group finishes the task as quickly as possible, but not in depth. List clear, specific outcomes and share the assessment criteria for the task with the group.
Establish routines and expectations of group work in advance.
Present the task in stages.
Provide a stepped frame (scaffold) to work from.
Establish individual responsibility.
Establish peer and self-assessment processes.
Intervene and join the group midway through sessions.
Establish a rotating group leader and give them a checklist of questions to cover.
This group won’t stay on task. Read the group tasks so as to pre-empt any problems.
Be clear, be firm but let the group know you will join them for a few minutes each session.
Build the practice of independent group work gradually. Start small. Train them.
Build accountability into the task, ask the group to lead the plenary.
Offer rewards for specific outcomes until work ethic established.
Establish a rotating group leader for each lesson.
Ensure consistent department and whole-school expectations of group work.
This group is not confident enough to be left unsupported. Provide carefully staged, scaffolded tasks. Give the group one task at a time, e.g. in envelopes, so that they
only focus on one activity at a time.
Bump start – give teacher time as the group begins working.
Provide support in the form of a Prompts sheet, writing or discussion frame or checklist.
Provide a bank of key words and high-frequency words.
Give the group time to prepare a task, e.g. give it to them the day before.
Allocate a teaching assistant to the group for specific sessions.
Consider support in the form of a cassette, or tasks related to the text on ICT.
9. Letting books go homeMany schools and departments are anxious about giving reading homeworks because they worry about never seeing the books again. If we agree that we need to encourage and support independent wider reading among our pupils, we need to find strategies that ensure individuals and groups become responsible for returning all books borrowed.
Some of the books in this unit can be read within the lesson times allocated, others need to be taken home and read outside class. If we are to model how good readers read we must ensure that the reading takes as few lessons as possible.
There are no easy answers to the issue of letting books go home and the following suggestions are notes from the returning books ‘battlefield’.
Ensure you number each book and assign a numbered book to each individual pupil (the names of group members and their book numbers can be listed on the front of the group reading folder).
Make the returning of the book a group, rather than an individual, responsibility (give a point each lesson to the groups where every member brings their book to the lesson; end the unit with rewards for the groups with the most points).
Make it easy for those pupils who are particularly vulnerable to losing things, e.g. those with no school bag, to leave their books in your classroom or the school office at break-times and lunchtimes, etc.
10. Ten tips for running group reading successfully1. Where possible create groups from pupils with similar reading confidence and skills.
2. Allocate books on the reading challenge they will present to pupils.
3. Make the group responsible for its own organisation.
4. Suggest groups have a rotating chair (metaphorically of course).
5. Identify time and clerical support for downloading and preparing the materials. Allocate a different colour to each group text.
6. Read the books ahead of time so that you can spot, and thereby pre-empt, problems of content or reading level.
7. If necessary edit the group tasks to suit your class (they are only guides).
8. Give time to establishing the routines and expectations involved in group reading (it will pay dividends later).
9. Be especially clear from the outset about your expectations of independent work and every group’s entitlement to guided sessions.
10. The following list will be useful for pupils and could be put into each group reading folder. It will be particularly useful for session 1 of the unit when you set up the routines and practices of group reading with the class.
Appoint a team leader for your group, a captain for each session, someone who will gather the materials you need, keep a check on the timings, chair group discussions, make a note of any difficulties you encounter, ensure that everyone gets a fair chance to say what they feel, and that your group works to its best ability. Rotate the role so that everybody gets a turn.
Know where you are goingAsk your teacher for copies of the planning sheet so that you can see what is coming and plan ahead. Look at the instructions for lesson 6 where you get the chance to interrogate the author. Use any website references given to find out what you can about the writers and their views in advance of the activity. Use a highlighting pen on the planning sheet to show where you’ve got to after each session – if you need to revisit some work after a break then this will show it. Write down when homework is to be set and what it will be.
Get into a libraryGet into the school, or a local, library and see if you can borrow any other books by the same writer. Sometimes authors explore the same themes in different books – see if you can compare these treatments.
Use the plenary Use the plenary as your chance to show what your group has been thinking and doing. Expect to be asked for some kind of input. Prepare ahead – select who might be best for feedback – talk through what they might say, then if your group is asked to contribute, you’ll do a much better job.
Support one anotherHelp anybody who has been off sick by recapping on what they’ve missed in the plot that was important and what you’ve achieved as a group while they were absent. If you’re keeping reading journals let them see some entries about the bits they’ve not worked on.
Your chance to be independentTo get the best out of these lessons you must work independently. Avoid the temptation to keep checking with the teacher that what you’re doing is right. Trust yourselves: if you’re not sure, if you have a question you really must ask, make a note of it, move on, and then come back to it later. You may well find that after you’ve had time to reflect you can answer your own question.
Keep your book with youIf you take the books home make sure they come back next lesson! Sharing books slows everybody down and is not fair on the others in your group.
Think presentationRemember that all of this work is building towards a presentation to the whole class about your book. If there’s anything you can do to help that, do it while it’s still fresh in your head. If there’s a task that needs finishing – don’t wait to be told – do it yourself. It will help everybody.
Reading on is fineReading on is fine. Your teacher wants you to enjoy these books. If you really must get to the end as soon as you can, that’s great. If you’ve read further than the others, don’t worry about it. Just be careful not to spoil the excitement for your friends.
Targeted supportThis section contains suggestions on making group reading work for a range of pupils.
1. The benefits of group reading for pupils learning English as an additional language.
2. Supporting less confident readers in group reading lessons.
3. Prompts to use with less confident readers.
4. Prompts to use with fluent readers.
5. Group reading with more able readers.
6. A checklist to use when planning group reading for more able pupils.
7. Template for a Year 8 guided reading session with a group of able pupils.
8. Using group reading to develop thinking in able pupils.Note: Group reading lessons, when differentiated groups will usually be formed around a particular text, are among the best lessons to focus support from additional adults such as teaching assistants, support teachers and trainee teachers.
1. The benefits of group reading for pupils learning English as an additional language (Note: Most of these references are also relevant to all readers)
The group reading lessons outlined in this unit are supportive of pupils learning English as an additional language since:
the starter/introduction sessions:
draw all pupils in from the start and the group tasks establish an explicit, shared objective for each group; introduce and exemplify appropriate language conventions and the vocabulary of specific reading
strategies; involve the teacher actively demonstrating the reading strategy focus for the lesson;
speaking and listening are central to the group reading tasks – and pupils have an opportunity to rehearse their ideas within a small supportive group;
all group members are expected to contribute, often in pairs – this allows greater opportunities for purposeful talk;
group reading provides an ideal opportunity for an additional adult to support the whole group while at the same time ensuring that pupils learning English as an additional language are actively included. Note: All additional adults supporting in either group or guided sessions need to be made aware of the specific reading targets for the group.
Pupils learning English as an additional language may need particular support with the following in group reading:
English idioms (phrases and expressions which have particular reference other than literal meaning), e.g. ‘I take my hat off to you’;
cultural references – these may need explaining using some visual reference, such as photographs, that will help access the text to pupils;
dialect.
It may help if teachers:
access pupils’ prior knowledge of topics or ideas to sort out misunderstandings that interfere with comprehension and meaning-making, see cultural references above;
check for understanding of:
particular content words; referents which carry meaning, e.g. who is the ‘she’ at this point?
References/hotlinks Access and engagement in English, DfES 0609/2002
Active reading, Key Stage 3 National Strategy, Literacy across the curriculum
’Prompts for questions in shared and guided reading’, Appendix 8.1 from Key Stage 3 National Strategy English department training 2001
Reading between the lines, Literacy progress unit, Key Stage 3 National Strategy
Year 7 Speaking and listening bank, Key Stage 3 National Strategy
2. Supporting less confident readers in group reading lessonsGroup reading can be a supportive experience for pupils who lack confidence. It is also an opportunity to deploy a teaching assistant to support pupils as they read aloud. For guidance see Prompts for developing readers (below).
The types of tasks outlined on the group cards work well in groups and should be supportive to weaker readers as they are focused to employing active reading strategies while reading.
The group reading cards are on the web in both Word and PDF formats which gives you the opportunity to adapt the readability and challenge of the tasks (see some suggestions below).
Some suggestions for using and adapting the group reading tasks Go through the group task with pupils before they start reading. In this way they know what the purpose of the
reading is and what they will be expected to do afterwards. It will make their reading more focused and purposeful and help them know what to look for.
Remind pupils that, in this group reading unit of work, the reading of the text is more important than the tasks (which are solely designed to support active reading). If useful therefore forget the task and allow time for a second reading.
Adapt the group tasks so that there is an even more active reading approach. For example:
include an underlining or highlighting task on relevant sections of a photocopied extract; ask pupils to make up a suitable heading for each chapter so that they have to summarise the key points; ask pupils to draw a diagram, map or floor plan from the information in the passage.
Give pupils time to assimilate the passage in pairs by giving them regular tasks such as:
decide what you think is the main idea in this chapter; in your own words pick out four key points about the book so far.
Before reading ask different pupils in a group to read for different purposes, e.g. one to summarise the section read, one to think of questions to ask the author, etc.
Share with the group your own clear summary of the chapter or where they are up to in the book so far. This will probably be a verbal summary. A list, diagram or other visual representation can be very supportive for weaker readers and pupils who are learning English as an additional language.
Use taped readings to provide support, see publishers’ details for those texts which are on cassette. The school library may be happy to purchase these.
Select priority passages for reading if you feel the group may not get through the whole text.
Ideas adapted from Handout 3.5 English department training 2002/03, Year 8
References/hotlinks to other useful materialLiteracy Progress Units: Sentences (DfES 0478/2001)Literacy Progress Units: Phonics (DfES 0477/2001)Literacy Progress Units: Reading between the lines (DfES 0476/2001)Literacy Progress Units: Spelling (DfES 0475/2001)Literacy Progress Units: Information retrieval (DfES 0474/2001) Literacy Progress Units: Writing organisation (DfES 0473/2001)All available at www.standards.dfes.gov.uk/keystage3/strands/publications
Literacy Progress Units (Adapted for whole class)Literacy Progress Units (for use with small groups)Only available at www.standards.dfes.gov.uk/keystage3/strands/publications
The following prompts may be useful as strategies for teachers and support assistants to use when supporting less confident readers in guided groups and individually.
What to do What to sayFoster predictionTeacher demonstration Cover words over with labels Expose beginning of word and cover restEncourage pupils to check
What do you think the word will be?What would you expect to see at the beginning?What would you expect to see at the end? Were you right?
Foster cross-checkingTeacher demonstrationMismatch on wordLook out for opportunities for pupil to model
It could be … but look at …Check itDoes it look right and sound right to you?Try that again
Foster self-correction Teacher demonstration Error and correction
I like the way you found out what was wrong all by yourselfYou made a mistake on that page/sentence/line. Can you find it?
Foster phrasing and fluencyTeacher demonstration Reading phrased and fluent Stilted reading Look out for opportunities for pupils to model
Read it so it sounds like talkingHow do you think … would say it?Shout it out!Read the punctuationRead it without your finger pointing
Foster independenceTeacher demonstration Praise when pupils are reading Look out for opportunities for pupils to model
You are almost right but …You had a really good try. Now …Do you know a word that starts that way?How did you know it was …?What could you try?Do you know a word like that?
Taken from English department training 2002, Year 8.
References/hotlinks to other useful material ‘Differentiation strategies’, Appendix 9.1, Key Stage 3 National Strategy, English department training 2001,
Targeted Support
Reading between the lines, Literacy Progress Unit, Key Stage 3 National Strategy
‘Prompts for questions in shared and guided reading’, Appendix 8.1, Key Stage 3 National Strategy English department training 2001
General questionsWhat kind of book did I think this was going to be? Have I read any other books, stories or poems like this one?Would I like to read this again?Who was telling the story?Were there any parts of the book I particularly liked or disliked?
Questions about the openingWhat kind of book do I think this is going to be?Do I want to go on reading?Where and when do I think this story is taking place?
Plot questionsWhat happens first in the story?Did I guess what was going to happen at the end?Can I think of a different ending to the story?
Setting and time questionsWhen did the story take place?Where do you think the story happened?
Character questionsWhich character did I like most?Which character did I like least?What kind of people are in the book?Who would I like to meet most in the book?What is the character thinking or feeling?Does the author use stereotypes, e.g. age, race, gender?
Word and sentence level questionsWhy has the writer used that particular word? phrase?Why is the writer using these long/short sentences here?In what different ways does the writer begin sentences/paragraphs?
Reading between the linesWho are the most dominant characters in the book?What does the author like or prefer?What does the writer want me to think at this point?Would people at that time in history or in that society have had ideas/thoughts/feelings that were different from mine?
EvaluationDo I like/dislike what I am reading?Do I agree/disagree with the writer’s point of view?
Follow-upWhat made me think that?
Why?How do I know?
Why?
What clues am I using?Why? Why not?What tells me?
Is it effective as an opening?What clues did I use?How would the rest of the story need to be changed?
What makes us think that?What tells us?
Why? (give evidence)Why? (give evidence)
Why?How does the reader know?
If so, what is the effect?
What does it make me feel/think?
What effect is intended?
Is this effective?
What is my evidence for this?How do I know?What tells me?
Why? What is your evidence?Why?
Adapted from Handout 3.5, English department training 2002, Year 8.
References/hotlinks to other useful material ‘Prompts for questions in shared and guided reading’, Appendix 8.1, Key Stage 3 National Strategy English
department training 2001
‘Active reading’, Key Stage 3 National Strategy, Literacy across the curriculum
Group reading provides a number of opportunities for extending and challenging more able readers.
It gives them more independence and responsibility for structuring and sustaining discussion in their group.
It provides the opportunity for them to read and discuss more challenging texts than those the teacher might read with the whole class.
While they employ the same reading strategies as their peers, it provides an opportunity for them to do so at a deeper level.
The two guided sessions per reading group allow the teacher to:
model the use of specific terminology and expressions they might not use with the whole class; challenge pupils to explain and give specific evidence for their ideas; focus on demanding objectives; draw on prior reading experiences with more confidence; encourage speculation and risk-taking.
6. A checklist to use when planning group reading for more able pupils
Use the following checklist when adapting the material you are offering for more able pupils so as to:
add breadth Expect each group member to read at least one other title by the same author during the group reading unit and compare them.Ask for a profile of the author (this could be framed as an interview for a TV book programme, using their own questions as they read the book).
give depth (e.g. in terms of ‘voice’)Expect more definition and understanding of the difference between the voice and attitudes of the author, the narrator (if different) and individual characters.Adjust the group tasks so as to ensure higher-order reading and response skills are used, e.g. analysis and evaluation as well as recall and recount.
accelerate the pace of learning Look at the objectives for the next year group if those for their own year group have already been tackled successfully. Adjust the unit tasks to include more reading in the time allocated.
promote independence Expect pupils to take more responsibility for group organisation, especially for planning and organising for the presentation of their book to the class.
support reflection and self-evaluation Share the objectives you are setting with the group and expect them to be able to assess themselves against these (provide a self-assessment sheet for this).Consider asking the group to use the self-evaluation checklist at the end of each session rather than just at the end of the unit.
Give a range of suggested entries for a reading journal and expect a wide range of exploratory writing in response to their group reading text.
Adapted from Teaching Able, Gifted and Talented Pupils – self-study material for English departments www.standards.dfes.gov.uk/keystage3/strands/publications
7. Template for a Year 8 guided reading session with a group of able pupils
Objectives
Teaching sequence Teaching intention ExampleIntroduction To focus on and explain the
objective(s) To make connections between
selected texts and prior reading experience
Draw attention to the objective, suitably displayed and say that the session will focus on …
Discuss what pupils know about …Strategy check To help pupils identify the range
of strategies they already use and explain them.
They could be: Semantic (looking at choice of
vocabulary) Syntactic (analysing style and
variety and sentences) Schematic (making connections
within and between texts) Inferential (text inference) Pragmatic (sharing and
exploring responses with others Analytical (linking options with
historical and textual evidence) Evaluative (critical judgement
which has a personal dimension)
Review the strategies which could help to make critical judgements about …
Independent reading Set an independent reading task with a specific focus
I would like you to …
Returning to the text: developing response
To draw the group together and go back to the text, encouraging pupils to identify elements that may require clarification, exemplification or discussion
To give pupils opportunities to review and develop their reading strategies
To establish an authentic dialogue around the texts, exploring personal preferences, probing and extending comprehension and critical appreciation
Review To reinforce the learning objectives
To develop critical and reflective recall
To prepare for the next reading session
Taken from Guided reading in English at Key Stage 3, 2001
8. Using group reading to develop thinking in able pupilsA major focus in the group reading unit is to encourage pupils to be more aware of the reading strategies they:
already use regularly;
need to develop and refine.
This kind of reflective thinking is vital to pupils’ cognitive development and can be particularly relevant for more able pupils. Many able children use higher-order thinking skills without a conscious understanding that they are using them. To become more independent learners it is helpful if pupils can explain how they:
think;
approach problems;
reach solutions;
make links and connections.
In ensuring the group reading material is appropriate for more able pupils it is important to remember that more challenging content on its own does not always improve the effectiveness of pupils’ thinking. Equipping such pupils with the vocabulary and methods by which they may appraise their learning and progress can be more effective in improving their performance.
Research (Vygotsky’s work in particular) stresses the role the teacher can play in helping pupils to develop an awareness and analysis of the thinking processes they use. In the starter/introduction and guided sessions of this group reading unit the teacher demonstrates the use of specific reading strategies. Even for more able pupils such skills need to be taught, not caught.
The main higher-order thinking skills have been identified as:
prediction;
visualisation;
generalisation;
reflection;
evaluation.
Teacher checklist for planning questions (after Bloom’s taxonomy)KnowWhat do you know?What do you remember?
UnderstandDescribe in your own words.How can you explain…?What does it tell you about…?
ApplyHow could you use…?Where else does this occur?How would you show that…?
AnalyseWhat caused…?What are the benefits/disadvantages of …?What is the result of…?How are… similar/different?
SynthesiseHow else might you tackle this?What other ways might be used to…?How could you improve…?Devise your own…
EvaluateWhy do you think…?How could you improve your work?What is there still to understand/find out about?
Applying these skills to group and guided reading with more able pupils
KnowAsk pupils what questions they would ask if they were trying to find out how much was known about the context or subject of a book.
UnderstandAsk pupils what is meant by the word ‘comprehension’ and ask them to come up with alternatives (understanding, grasp, knowledge).
Ask them how questions are usually prefaced if we want to ascertain whether something is understood or not (how, why, what, describe).
Pupils could, using response partners, ask questions to ascertain whether their partner has understood a specific extract. This could then be developed through discussion as to whether their understanding of events is the same, or different (this could be located in lessons 5 and 6, when pupils are searching for patterns in themes and narrative style).
ApplyProvide pupils with a range of questions, e.g. How could you use…?Where else does this occur?What else could you connect this to?
Model the use of such questions within the guided reading sessions to engage and deepen pupils’ responses to the texts they are reading.
AnalyseAsk pupils to think of subjects where they need the skills of analysis. Pupils could brainstorm key words that they use to encourage analytical thought, e.g. cause and effect, results, similarities and differences. Ask pupils to apply these forms of analysis to questions they can use when exploring character, tracing themes and defining authorial voice in a text, e.g. What caused...?What are the benefits/disadvantages of...?What is the effect of...?How are... similar/different?
SynthesiseAsk pupils to predict and then look up the definitions of thesis, antithesis and synthesis. Can they find examples of each in their book?Using mind-mapping, ask pupils how the elements of the text are a synthesis, e.g. does the setting support characterisation? How does the narrative style complement the thematic structure in the book?
EvaluateAsk pupils what the purpose of evaluation is (acquisition and consolidation of knowledge, increased understanding, improved skills).
Ask pupils to consider the range of evaluations they undertake (e.g. science, desigh and techology, art and design, English, and the different forms these take, i.e. written, oral). Which type of evaluation do they find most effective?
Ask pupils to apply this to their work in this unit, i.e. to devise an evaluation for others to complete on their group reading. Each pupil should share his or her findings with a partner. How might they challenge themselves? This could be completed at any stage in the group reading project, but a final evaluation would be an obvious place for a detailed evaluation.
Be aware of the thinking skills you wish to develop in a lesson and make sure there is more than just the ‘lower-order’ thinking skills (knowledge and comprehension) required within content-driven lessons.
Encourage discussion to promote the quality of thinking where, you, the teacher, act as a mediator, not a participant.
Comment on and praise speculations, sophisticated solutions and responses, not just the correct ones.
Incorporate the language of thinking and questioning (metacognition) into all lessons and work schemes so that it becomes second nature.
Encourage pupils to make connections in their application of knowledge and skills by judicious questioning.
Set group challenges which you know will require thinking skills to be used imaginatively and cooperatively.
Use the plenary to explicitly consider:
acquisition of knowledge; increased understanding; improved skills (the most effective ways of tackling a task, whether alternative approaches were
considered, etc.).
Use questions to encourage self-evaluation and reflection. Develop a culture of challenge in the plenary session.
References/hotlinks to other useful material
For further discussion of strategies for teaching gifted and talented readers see:
Teaching Able, Gifted and Talented Pupils – self-study material for English departments www.standards.dfes.gov.uk/keystage3/strands/publications
English department training 2002, Year 8 (see handouts referring to guided reading with more able pupils)
Guided reading in English at Key Stage 3 (DfES 0044/2002)
Reading targetsGuided reading sessions are an ideal setting for reviewing and setting reading targets for groups and individuals.
1. Pupils appreciate being given targets which itemise a strategy or skill they need to acquire or develop for the next stage in their learning.
2. Targets ensure that pupil progress can be tracked specifically.
3. Achieving a realistic and manageable target gives pupils a sense of achievement and increases motivation.
Your department may have already devised target statements to use with pupils when reviewing their reading development. If this is the case, we are not suggesting you replace them, but you may find it useful to look at the suggested process for arriving at reading targets below.
Suggested process for arriving at pupil targets The Framework for teaching English: Years 7,8 and 9, the QCA assessment focuses and the reading strategies identified in this material are the basis on which effective reading targets can be framed for pupils at Key Stage 3. The following are examples of reading targets for Year 7 groups which attempt to show how this might work. For each assessment focus there are three targets which can be linked to different levels of attainment.
These targets will need to be put into more accessible language when used with pupils, e.g. ‘I am able to make points about Macbeth’s character, find quotations as evidence and explain in writing what the quotations tell the audience.’
Targets are only useful if they are specific, and the following suggestions can be adapted to your scheme of work to ensure they are as specific and explicit as possible.
Suggestions for arriving at reading targets: Year 7QCA assessment focus 2
Describe, select or retrieve information, events or ideas
Framework objective R2 Use appropriate reading strategies to extract particular information, e.g. highlighting, scanning
Relevant reading strategies
Skimming and scanning for evidence
Reread and re-interpret
Ask questions
Pass comments and judgements
Suggested reading targets
Can select, highlight and later retrieve key points in a text
Can scan a text and find evidence to quote in order to exemplify a point made
Can make a point, select supporting evidence from the text and explain what it says
Suggestions for arriving at reading targets: Year 7QCA assessment focus 5
Comment on the use of language including grammatical and literary features at word and sentence level
Framework objective R14
Recognise how writers’ language choices can enhance meaning, e.g. repetition, emotive vocabulary, varied sentence structure or line length, sound effects
Relevant reading strategies
See images
Hear a voice through the text
Interpret patterns
Suggested reading targets
Can talk about the writer’s choice of words and explain what they see and hear in the text
Can talk about the writer’s choice of words and sentence constructions, and describe the effect these have on the reader
Can use a developing critical vocabulary to explain how the writer achieves the effects intended
Suggestions for arriving at reading targets: Year 7QCA assessment focus 6
Identify and comment on writers’ viewpoints, and the effect of the text on the reader
Framework objectives R16 and R12
Distinguish between the views of the writer and those expressed by others in the text, e.g. the narrator, quoted experts, charactersComment, using appropriate terminology, on how writers convey setting, character and mood through word choice and sentence structure
Relevant reading strategies
Hear a voice through the text
Pass judgements
Feel involved
Relate to own experiences
Suggested reading targets
Can say what the writer’s point of view is in a text
Can describe the writer’s views, explaining them and showing how they are communicated to the reader
Can explain the writer’s intentions and views, and use a developing critical vocabulary to comment on the effect achieved by the text
Guided reading For each group reading text two lessons are outlined which involve the teacher working in depth with the group on a specific point in their text.
1. Reminders about guided reading
2. Why use guided reading?
3. Managing independent work
1. Reminders about guided readingThe key features of guided reading sessions are that:
pupils are grouped by ability, need or focus;
the teacher plans the session, following an instructional sequence (see below);
the teacher works with the group for a short, focused session (e.g. 20 minutes);
follow-up tasks and targets are set to ensure continuity and progression.
The experience of teachers through the National Literacy Strategy in primary schools has shown that such targeted support and attention given to individuals in a guided group can be highly effective in raising pupils’ achievement. In secondary schools guided reading can provide a focused context for developing pupils’ independent reading strategies and motivate wider reading.
Each guided reading session in Group reading at Key Stage 3 is outlined for teachers in detail and follows the sequence outlined below:
Guided reading teaching sequence
Introduction to text
Strategy check
Independent reading and related task
Return to the text:developing response
Review (reading target and next steps)
Evaluation
2. Why use guided reading?The following reasons for using guided reading with a class were compiled by a group of Key Stage 3 English consultants.
It provides a structured approach – the teaching sequence acts as a bridge which pupils can then apply independently.
The focus on reading strategies which can be applied to any text creates more independent readers.
The small-group context allows for specific objectives to be targeted.
Small groups allow for finely tuned differentiation, e.g. facilitates depth/breadth for the more able and targeted support for pupils with a variety of skills and learning needs.
It enables targeted teacher intervention at the point of learning – much research shows the value of an instant teacher response.
Teacher can explicitly model reading behaviours for pupils, e.g. ways to question and respond to a text.
The small group provides a non-threatening environment and allows for specific praise which can significantly boost a pupil’s confidence and self-esteem.
Provides useful assessment and target-setting opportunities.
The emphasis on discussion means that pupils’ reading is assessed without writing.
The familiar small-group context provides a safe zone for pushing thinking skills further, e.g. hypothesis and speculation.
Provides a focus for wider reading – an opportunity to discuss prior reading experiences.
No pupil can sit back and be ‘passive’.
No groups or individuals are missed – every pupil is listened to.
3. Managing independent workRunning guided groups presents some challenges to teachers. At first guided work appears to involve a different style of planning, classroom organisation and teaching style. In particular, both group and guided reading involve moving away from the familiar experience of reading a novel or play as a whole class.
A common concern for many teachers is how the rest of the class will respond to working on their own while the teacher gives his/her undivided attention to a guided group.
Suggestions for encouraging independent working during guided reading sessions
This group won’t complete the task unless I harass them. Give the group a sequence of short tasks.
Offer an element of choice in the tasks to encourage commitment.
Allocate role of timekeeper. Build in stages to be checked by timekeeper.
Reward those groups who work well independently, e.g. give them your attention and offer praise in plenary.
Set a series of mini-tasks.
Ensure a concrete outcome is expected, e.g. expect feedback in the plenary.
Use the term: ‘Your challenge is…’.
Identify a group leader for each session.
This group finishes the task as quickly as possible, but not in depth. List clear, specific outcomes and share the assessment criteria for the task with the group.
Establish routines and expectations of group work in advance.
Present the task in stages.
Provide a stepped frame (scaffold) to work from.
Establish individual responsibility.
Establish peer and self-assessment processes.
Intervene and join the group midway through sessions.
Establish a rotating group leader and give them a checklist of questions to cover.
This group won’t stay on task. Read the group tasks so as to pre-empt any problems.
Be clear, be firm but let the group know you will join them for a few minutes each session.
Build the practice of independent group work gradually. Start small. Train them.
Build accountability into the task; ask the group to lead the plenary.
Offer rewards for specific outcomes until work ethic established.
Establish a rotating group leader for each lesson.
Ensure consistent department and whole-school expectations of group work.
Set targets for concentration and contribution.
This group is not confident enough to be left unsupported. Provide carefully staged, scaffolded tasks. Give the group one task at a time, e.g. in envelopes, so that they
only focus on one activity at a time.
Bump start – give teacher time as the group begins working.
Provide support in the form of a Prompts sheet, writing or discussion frame or checklist.
Provide a bank of key words and high-frequency words.
Allocate a teaching assistant to the group for specific sessions.
Consider support in the form of a cassette, or tasks related to the text on ICT.
Local supportIf you contact your LEA Key Stage 3 English Consultant he/she will be glad to support you, either by running the training for your department, lending you the video or putting you in contact with a leading English teacher who has been trialling guided reading in their classroom. There is nothing like visiting another school to see guided reading working well and talking to the teachers involved.
National trainingIf you have not attended any national training on guided reading you could refer to the Key Stage 3 National Strategy Guided reading in English at Key Stage 3 training folder, which, if not held in your department, you can download from the KS3 National Strategy website.
In drawing a group reading lesson together, plenary sessions play an important role in helping pupils think about, and articulate, what they have gained from the session. By returning to the objectives, and in this case the reading strategies focused on in the lesson, pupils can be asked to summarise and discuss how they might apply such strategies independently in the future.
A key principle of group reading is that the pupils organise themselves and many tasks on the work cards ask groups to be ready to share their findings/what they have learned in the plenary session.
To ensure plenaries do not become routine and a chore, it is important to have variety. Teachers need to consider the timing and structure of each plenary within the lesson and whether:
a different group will be asked to lead the plenary session in each lesson;
each group will contribute (e.g. one point they have learned) to each plenary.
The plenary in group reading lessons is an opportunity to: generalise from examples generated in the lesson, e.g. on the different devices authors use to construct
characters, such as first person narration and the diary form;
draw together what has been learned and summarise key ideas and vocabulary, e.g. different types of narrative hooks;
go back to the starter/introduction session and rectify any confusions;
make links with other work in English and the value of having a toolkit of reading strategies to draw on in the future, at Key Stage 4, for example;
ask pupils to reflect on their reading skills and remind them about their personal reading targets;
encourage wider reading, e.g. by asking pupils to talk about books they are reading outside class, by sharing information about an author, books on a similar theme, etc.
Suggestions for involving pupils in plenaries
Give a hint at the start of the lesson of how the plenary will go. For example:
tell two pupils at the start of the lesson that they will be responsible for reporting back at the end of the lesson on what was important about it – other pupils can then say whether they agree or disagree and why;
put the questions you will ask in the plenary on the board at the start of the lesson.
In the plenary, ask individuals to:
write down three facts they have learned in the lesson, then share these with a partner and add to the list;
write a sentence that summarises the lesson, then share with a partner;
write key words and definitions in a subject dictionary;
use writing or talking frames designed for the plenary, such as ‘What I found difficult or easy was …’, ‘The most important part was …’, ‘I need to improve on …’.
Ask pupils in pairs or small groups to:
make sets of cards for the technical vocabulary used in a lesson, putting words on one set and definitions on another, then use the cards to play Pelmanism;
compose two sentences that describe the main ideas of the lesson;
identify three ways in which ideas in the lesson might be used in other subjects;
design one page for a PowerPoint presentation, with a heading and three bullet points summarising an aspect of the lesson.
Reading JournalWhile the main aim of the group reading unit is to promote wider independent reading, the discussion tasks on each text are designed to help pupils reflect on the reading strategies they use and to try out new ones (see ‘Strategy check-card’, ‘Prompts’ and ‘Reading targets’ sections of this website).
1. Types of reading journal entries
2. Teaching journal writing
3. Making it a habit
4. Ideas on what to write in your reading journal
1. Types of reading journal entriesReading journals give pupils the opportunity to reflect, speculate and express immediate responses to their reading. It will be important that they see their journal as part of a dialogue with their teacher about reading, rather than as work to be marked.
Entries can take a range of forms including:
notes, e.g. about content and characters;
questions, e.g. speculations while reading, questions for the author;
descriptions, e.g. settings and people;
jottings, e.g. thoughts and feelings aroused by the text;
graphic representations, e.g. diagrams, mind-maps, time charts, comparison grids, sketches.
2. Teaching journal writingAs with any type of writing, if pupils have had little experience of this type of writing they will be more successful if you follow the teaching sequence below (or an adaptation to suit your pupils).
Teaching sequence for writing reading journal entriesEstablish clear aims Review the types of entry pupils have used in reading logs/diaries since
primary school. Remind pupils that reading journals are aimed at helping them develop their reading strategies and that the notes they make will be useful to look back on, especially before writing about the book, e.g. to show how the author has made a character change and how this affects the reader’s feelings about him/her.
Provide example(s) Put short but effective reading journal entries (ideally written by pupils) up on an OHT. Discuss purpose and audience. Talk about the thinking involved and how reflecting on paper can help us form our views. Draw out the ingredients of a useful journal entry.
Explore the features of the text and define the conventions
Look at the tense, at the kinds of words used, use of punctuation, etc. e.g. personal pronouns, informal style, often in note form, etc.
Demonstrate how it is written
Choose a text well-known to the class and model a very short entry (two sentences) on the overhead projector. Think aloud as you write, e.g. make explicit the questions you ask yourself and show how your thoughts, responses and impressions are developing. (see Prompts sheet and Strategy check-card to help here)
Compose together Draw the pupils in to the writing of another short entry, e.g. I want to write about the ending of… What would be a good way to start?
Scaffold the first attempts Provide prompts and sentence starters for pupils who need help in getting started and with hitting the right register. Ask pupils to work in pairs if this will give them the confidence to take more risks and be exploratory in their writing.
Independent writing Provide pupils with the time to apply the writing style you have demonstrated in an entry on their group reading book. Ask a couple to write theirs on OHT so it can be shared with the class.
Draw out key learning Share a couple of entries with the class. Return to the aims, features and criteria for effective journal writing established earlier and ask pupils to reflect on how successful their entries are.
Review Has it helped you develop your response to what you have read? Consider ways to extend and experiment with journal entry writing in the future.
3. Making it a habitIf the use of reading journals is something you are keen to develop across the department, the following sequence can be encouraged as a routine for pupils when reading in class.
Write a paragraph about what you discovered when reading today. This may include:
questions left in your mind, i.e. what you do not understand at the moment but expect to be revealed later on;
parts of the book (words, lines) that you have particularly enjoyed; your impressions and feelings about characters as conveyed so far; similarities with other books you have read; connections with your own experiences.
Look at the Strategy check-card, list the reading strategies that you have used. Illustrate them with brief references to the text.
What is your reading target? How will you achieve your reading target? Who could help you?
Note: See the group reading Prompts sheet and reading Strategy check-card: both will support pupils when they are writing in reading journals.
4. Ideas on what to write in your reading journal
Charting the plotCan you make a chart that reflects changes in the book/play? Distribute on your vertical axis the words high, moderate and low and on the horizontal axis the chapter or page numbers. Pinpoint where the highs and lows are in the plot. Can you see that the writer varies the pace, i.e. follows a tense moment with a relaxed pace, has a slower description following fast action or dialogue? Is there a noticeable point in the plot where tension is at its height? What does the temperature line look like by the end of the book?
Drawings and diagrams No artistic skills required. With a partner take it in turns to tell the story out loud. The one listening has to draw (use pin men, arrows, etc.) what they hear instead of writing notes. A drawing can help us see structure and contrasts in a plot. For some texts this may take the form of a spider diagram, a map or a journey.
CharactergramsOn a large sheet of paper, write the main character’s name in the middle and place the names of other characters at varying distances from it, depending on the closeness of their relationship. Now draw lines between all those that have contact or a direct influence over each other. This is likely to look like a tangled web. Use different colours to plot the inter-relationship between the main characters and the others in the book.
Visualising the sceneIn pairs take it in turns to select and read aloud from a particular moment or scene described in the text. In each case the listeners close their eyes, visualise the scene and then describe what they saw. This is ideally recorded in a reading journal and backed up with evidence from the text.
It depends where you stand …No two characters have quite the same view of an event/issue (just as in real life!).Choose two characters and one particular moment/event in the book. Think of a moment in the book and put yourself in the shoes of first one and then another character; write a short diary entry about the same moment.
Why? Why? If you can’t think what to write – say anything about the book and then turn that statement into a question. Answer the question and then ask another question of your answer. It can go on forever but you really start to think about the book and what the writer is trying to do, for example: I think this book is depressing. How is the book depressing? It uses dark and dreary descriptions of life in the past. What is dark and dreary in the descriptions? The words like ‘miserable rivulets of water ran inside my boots and down my collar’. Why is this depressing?
This can help when you’re stuck. Every time you answer one of your own questions ask another one about your answer …
Which characters change?Write down the names of characters that have stayed the same and those that have changed, learned and grown as people by the end of the book. Look at the ones who change, why do they? How does this make the book more interesting?
Summing it upTry and put in one sentence what the book you have just read is about. Your sentences could be written on cards and displayed. Does everyone in the reading group recognise the book from your sentence?
Narrative hooksOpenings tell the reader a great deal about the book. In pairs or a small group discuss the following questions on the opening. How does the writer ‘hook’ the interest of the reader? What clues are there as to who will be the main character? What kind of story is it? What are the clues in terms of mood/tone/setting/characters/action?
Writing styleThe writing style tells the reader a great deal about the meaning that the writer is trying to convey. In pairs, take one chapter and different pairs investigate features of: sentences, length and complexity; types of verbs, active/passive; vocabulary and choice of words; balance between dialogue and description.
Writing book reviewsAs well as being a useful way for pupils to reflect on their reading, book reviews offer a strong sense of audience and purpose for writing about a book. Ways to ensure such work contributes to the school’s objective of increasing and widening pupils’ independent reading is to provide an audience of other pupils, e.g. through displays in the school library, in corridors, in school newsletters, on the school intranet.
Just as with writing any text, pupils need to know the conventions and features of review writing before they start. Pupils will have written book reviews at primary school and this is an opportunity to review their knowledge of the text type and look in detail at the word, sentence and text level features of an effective review.
Select a short book review that you think is a good example of its type. Using the review as a focus, run through the teaching sequence for writing in the Key Stage 3 National Strategy English department training. This will involve you in:
exploring the conventions of the text (e.g. structure, predominant tense, type of vocabulary, pronouns, etc.; identifying the criteria for a successful book review);
demonstrating the writing of a short extract (making your decisions and choices explicit as you write);
scaffolding and supporting pupils where needed (working in pairs, using frames, for example);
ensuring pupils apply the skills independently (giving time for pupils to experiment and craft their own piece);
reviewing the learning with pupils (returning to the agreed criteria and assessing the reviews written against it, identifying successes and setting targets for future review writing).
Writing reviews – a suggested writing frame
Focus Content PromptsWhat is the text?
Title, subject, main character(s), political or historical events/setting, i.e. the big picture
(Title) is one of the best books about… that I have read this year…
This book is about…What type of text is it?
Text type – may be a mixture of genres, e.g. sci-fi and romance, adventure and mystery, diary and detective
Mainly written in the… genre, it also…
It is written for… What is particular about it?
Impact of the opening, style and structure At the beginning…
The reader’s attention is caught from the first line/chapter…
What is it about?
Brief outline of the plot without giving away the ending. Note: NOT telling the story
The story then goes on to describe/tell us…
The book is about how…Personal view Select one or two things you think are good
about the book and give examples/quotations from the text, e.g. building of character(s), development of relationships, creation of atmosphere, e.g. mystery, descriptions of settings/feelings
I particularly liked…
The book is most successful in the way the writer…
Reservations (if any)
You do not have to write anything negative, but this is your chance to say if there are parts of the book that you found disappointing, e.g. the ending, or parts that went slowly for you
I nearly put the book down when…
A less successful part of the book is when…
Concluding point. Persuade/ dissuade others
The kinds of readers who this book will appeal to – see It is written for… above
Final sentence about the book/story and your opinion, refer back to It is written for… and how successful it is)
I would recommend this book to… because…
One of the best/worst books/stories about… that I have read recently.
If you read one book about… this year make it this one/avoid this one.
How do you think you have developed as a reader while working on this unit?Please add any comments in the boxes.
Discuss each question with a partner and then jot down your thoughts. This can be stuck in your exercise book/reading journal as a record to look back on and review.
What you enjoyed (e.g. group work and discussion, guided sessions, the book, etc.)
What you found difficult (e.g. group work, the tasks, the book, saying what you mean, etc.)
What you learned(e.g. new reading strategies; are you more confident in your reading: do you feel able to tackle books now that perhaps before you would have avoided? Know more about new authors? More aware of the skills a writer uses? Can talk and write about a book more confidently?)
Now you have completed this project(Which reading strategies do you need to use more often? Do you practise reading aloud with expression? What reading target would you like to set yourself next? Discuss this with your teacher.)
Making the most of the school libraryThe group reading unit is an ideal opportunity for building links with the school library, drawing on the knowledge and expertise of the school librarian and encouraging pupils to use the library more often.
10 ways to make the most of the school library for group reading
1. Taster sessionsAsk the school librarian to join each group and present outlines and extracts of the other titles written by the same author/playwright.
2. Planning aheadGive your school librarian advance warning so that s/he can stock up or reserve further copies of both the group reading titles and other titles by the same author/on the same topic/in the same genre. To support teachers effectively, school librarians need to be informed of departments’ long- and medium-term plans.
3. TrainingInvite the school librarian to attend all Key Stage 3 English and literacy training and, in particular, involve her/him in the delivery of module 10 of the Literacy across the curriculum folder.
4. Guided sessionsInvite the school librarian to observe a guided reading session and encourage him/her to consider supporting guided groups, particularly those on author study, for example.
5. Meet in the libraryHold at least one group reading lesson in the school library. Ask the librarian to demonstrate researching an author on the web.
6. Try a quizAllocate time for a library quiz to support the group reading unit, e.g. questions on an author, other books written by the author, etc.
7. Take stockTake the opportunity of the group reading unit to review the Key Stage 3 fiction stock.
8. Spread the wordWhere the group reading presentations involve visual displays, pass the material to the school librarian to display for other classes to see.
9. BooklistsIn collaboration with the school librarian and the rest of the English department, create a booklist to offer pupils at the end of the group reading unit. Parents are also often grateful for such a list.
10. Cassettes/CDsSuggest the librarian purchases cassettes or CDs of each group reading title.
References and hotlinks
‘Key Stage 3 and the Library’, www.standards.dfes.gov.uk Sections contained: Research skills in the school library; the role of the librarian and the library in supporting literacy; Book boxes; The role of ICT in the school library.
‘Using the library/learning centre’, Module 10 in Literacy across the curriculum, DfES 2001
Useful websiteswww.literacytrust.org.uk The useful website of the Literacy Trust. It contains a particularly helpful section of ideas on encouraging wider reading in schools: Building a School Community that Reads – Getting the whole school reading. To connect with other useful sites look at www.literacytrust.org.uk/links/sites.html
www.cool-reads.co.ukThe boys who run this site have set up a frame for writing book reviews.
www.mrsmad.comA lively site with news and reviews dedicated to encouraging reading in young people.
www.booktrusted.com A website managed by the Booktrust to help teachers, librarians, parents and young people choose books.
www.teenreads.com
www.teachit.com
Other useful websites are those created by major publishers in the field, e.g. Heinemann and Scholastic.
The Department for Education and Skills, in conjunction with NATE, wishes to make it clear that the Department, and its agents, accept no responsibility for the content of any of the materials suggested as information sources within this document, whether these are in the form of printed publications or upon a website.
Introduction to character, inference and deduction
Group reading: Group activity: reading journal – notes on explicit/inferred development of character
Each group shares one example of inference
4 *Reread*Relate to time and place*Interpret patterns
Identifying themes and the way characters and events contribute to them
Group reading: Group activity: in-depth exploration of character
Two pupils to feedback what reading strategy helped most this lesson
5 *Summarise*Interpret patterns
Teacher modelling of mind-mapping techniques
Group reading: Group activity: mind-mapping of plot and links between characters
Refer to lesson
6 *Interpret patterns*Ask questions*Establish relationship with the author
Role of the author Group reading: Group activity: in pairs – author interrogation (one person hot-seated as the author)
Select one group to demonstrate. What new insights has this given into the book?
7 *Interpret patterns*Ask questions
Narrative style at word, sentence and text level
Group reading: Group activity: groups choose one plot event and explore how the language features work within this
Refer to lesson. Each group reports on one language feature and its effect
8 *Hear a voice as read*Ask questions*Interpret patterns
Recap – what do we mean by authorial voice? How is the author ‘heard’ in novel?
Group reading: Group activity: find examples of author’s voice
Groups to give an example of a) authorial voice b) narrative voice
9 *Reread/reinterpret*Summarise*Pass judgements
Ending and how it links back to the beginning
Group reading: Group activity: endings and resolutions
Each group: what effective about ending in their book?
10 Outline expectations for group presentations. Preparation of oral presentations Homework: Preparation/rehearsal11 Group presentations: 5–10 minutes per text
Blank group reading plans to use with additional texts
As a whole group we have: established the ground rules for guided reading; looked at effective strategies for reading (starter activity and Strategy check-card).
As a whole group we have: revised the range of reading strategies you have available.
Now you are going to: look at the narrative hooks used by the author.
Group readingRead together pages …
Whilst you are reading: think about the strategies you are using (look at the Strategy check-card); think about the evidence you may use to support your ideas.
As a whole group we have: revised the range of reading strategies you have available to you; explored narrative hooks; explored the developing relationships between character and place.
Now you are going to: explore the characterisation in more depth.
As a whole group we have: revised the range of reading strategies you have available to you; explored narrative hooks; explored the developing relationships between character and place; begun to explore themes and how the characters contribute towards them.
Now you are going to: continue to trace developments, including themes.
As a whole group we have: revised the range of reading strategies you have available to you; explored narrative hooks; explored the developing relationships between character and place; explored themes and how the characters contribute towards them.
Now you are going to: explore the role of the author.
As a whole group we have: revised the range of reading strategies you have available to you; explored narrative hooks, character, setting and mood; explored the developing relationships between character and place; explored themes and how the characters contribute towards them.
Now you are going to: think about the author’s voice and narrative voice.
As a whole group we have: revised the range of reading strategies you have available to you; explored narrative hooks, character, setting and mood, relationships between character
and place, emerging themes, the difference between authorial voice and narrative voice.
As a whole group we have: revised the range of reading strategies you have available to you; explored narrative hooks, character, setting and mood, relationships between character
and place, emerging themes, narrative style, the difference between authorial and narrative voice.
